This is a more detailed listing of the major Beatles Bootleg releases. Source link appears at the end.

The Beatles bootleg recordings, From Wikipedia, the free encyclopedia

The Beatles' bootleg recordings are performances by The Beatles that have attained some level of public circulation without being available as a legal release. The term most often refers to audio recordings, but also includes video performances. From the earliest Beatles bootlegs in the late 1960s, the group has been one of the most bootlegged rock artists.[1]

Bootleg recordings arise from a multitude of sources, including broadcast performances, recordings of live shows, test discs, privately distributed copies of demos, and covertly copied studio session tapes. The largest single source of Beatles bootleg material is the set of Nagra audio tapes from the 1969 filming of the Get Back/Let It Be rehearsal and recording sessions. P
Historical overview

The first popular Beatles bootleg was Kum Back, available around September 1969 in a plain white sleeve with no mention of a record company; the vinyl bootleg was based on anacetate of one of the early rough mixes by Glyn Johns of the Get Back album (which would later become Let It Be).[2] John Lennon may have been the unintentional source for one of theGet Back bootlegs; Lennon said: "They say it came from an acetate that I gave to someone who then went and broadcast it as being an advance pressing or something."[3]

Other notable bootlegs to appear in the early 1970s were Yellow Matter Custard, containing 14 BBC Radio performances from 1963,[4] and Sweet Apple Trax, a double album of songs and jams from the Get Back rehearsal sessions.[5] In 1978, a copy of The Beatles' Decca audition tape was bought by bootleggers, who released the songs over a series of 45 rpm singles.[5] Bootleggers of this era often copied and repackaged each others' releases, so popular titles often appeared from more than one bootleg label. The biggest labels for Beatles material in the 1970s were Kornyfone (TAKRL), ContraBand, Trademark of Quality, and Wizardo.[6]

EMI had planned to release an album of alternate takes and previously unreleased songs by The Beatles in 1985 called Sessions, but The Beatles objected after it had been compiled; by the end of the year, bootleg copies were widely available.[7] During the cataloging and review of the EMI archives in the early 1980s in preparation for the Sessions album and a multimedia show given at Abbey Road Studios, it is suspected that high quality copies of some of the material were surreptitiously made.[5] This may have been the source for the Ultra Rare Trax CD series from Swingin' Pig that started appearing in 1988, which provided takes never previously bootlegged in clarity that rivaled official releases.[8]

The late 1980s also saw the emergence of Yellow Dog, a label specializing in Beatles studio outtakes, who released the CD series Unsurpassed Masters in quality similar to Ultra Rare Trax; Yellow Dog, like Swingin' Pig's parent company Perfect Beat, was registered in Luxembourg, which had the most liberal copyright laws among EU countries.[9] Yellow Dog releasedUnsurpassed Demos in 1991, featuring 22 songs from the 1968 Kinfauns (Esher) demos, only some of which had been previously made public during the radio series The Lost Lennon Tapes that debuted in 1988.[7]

In 1993, a nine-CD box set of The Beatles' BBC radio performances was released in Italy by Great Dane. The official Live at the BBC and Anthology releases in 1994–1996 covered much of the highlights of previously bootlegged material, in sound quality that most bootlegs could not match. However, new bootlegs continued to appear, with bootleggers including the word "anthology" in the title of many of their collections. Starting in 1999, Silent Sea issued a series of CD-Rs, featuring recompiled studio outtakes with commercial-quality packaging and liner notes.[10] In 2000, the Vigotone label followed up their earlier eight-CD package of Get Back session recordings with a seventeen-CD collection called Thirty Days.[11] In the early 2000s, the DVD format enhanced the availability of Beatles bootleg videos, covering filmed concerts, TV appearances, promotional films, and even rare clips and outtakes.[12]

The availability of high-speed Internet has transformed the bootlegging industry. The Purple Chick label has assembled and digitally fine-tuned many comprehensive themed packages, including individual studio album sessions, the Get Back sessions, and the BBC performances, all distributed free through various fan trading sites online.[13][14] Author Richie Unterberger noted that it is "now theoretically possible to assemble a complete collection of the circulating unreleased Beatles recordings without ever buying a bootleg."[12]

Commonly bootlegged material
Several books have been devoted to comprehensively documenting Beatles bootlegs; the following is a list of some of the most common or notable bootlegged recordings by The Beatles.

The Quarrymen/Silver Beetles era (1957–1960)


Other than the commercially released songs with Tony Sheridan issued on In the Beginning (Circa 1960), only three recordings made by the group prior to 1962 have become public.[15]

The Quarrymen show, 6 July 1957. The Quarrymen played a show for the Woolton fête at St Peter's Parish Church, notable as the day that Paul McCartney was first introduced to Lennon by a mutual friend, Ivan Vaughan. In 1994, Bob Molyneux, a retired policeman, rediscovered a reel-to-reel tape he had made of the show while experimenting with a Grundigportable tape recorder. The tape contained a poor quality recording of the Quarrymen performances of Lonnie Donegan's "Puttin' On the Style" and Elvis Presley's "Baby, Let's Play House". A thirty-second excerpt of "Putting On the Style" was released to promote the tape's auction at Sotheby's later that year; the tape was bought by EMI for £78,500, becoming the most expensive recording ever sold at auction. EMI decided the recording was not of sufficient quality to include in Anthology. After extensive audio restoration, excerpts from both songs were included in the BBC radio documentary The Day John Met Paul, broadcast on 26 June 2007.
The Quarrymen acetate, 1958. In mid-1958, The Quarrymen paid to record themselves at Phillips' Sound Recording Services in Liverpool, performing "That'll Be the Day" and "In Spite of All the Danger". These were included on Anthology 1, although the latter song was edited.[15]

Home rehearsals, 1960. More than one hour of the band's home rehearsals from 1960 have appeared on bootlegs, although the recording's date and location are uncertain. McCartney once said that it was taped at his home in April 1960;[16] the recording may also originate from two separate sessions a few months apart.[17] Three of the songs were included on Anthology 1. The recording also featured early versions of songs that The Beatles would later record in the studio ("Matchbox", "One After 909", "I'll Follow the Sun"). Other songs included "Well, Darling", "Hello Little Girl", "That's When Your Heartaches Begin", "Wild Cat", "I'll Always Be in Love with You", "Some Days", "Hallelujah I Love Her So", "The World Is Waiting for the Sunrise", "You Must Write Every Day", "Movin' and Groovin'", and "Ramrod".

Decca audition (1962)

Main article: The Decca audition
The Beatles performed fifteen songs that were recorded at their audition for Decca Records on 1 January 1962 (three Lennon/McCartney compositions and twelve cover versions). Five of the songs were included on Anthology 1.

Fourteen of the fifteen tracks appeared on a series of coloured vinyl singles with picture sleeves, released in 1978 on the Deccagone label through Strawberry Fields Forever, Joe Pope'sfanzine. The following year, all fifteen tracks appeared on the Circuit Records bootleg album The Decca Tapes.
Due to the questionable copyright status of these performances (recorded prior to the group's EMI contract), the Decca audition was commercially distributed in various configurations starting in 1981; some of these "grey market" albums omitted the three Lennon/McCartney songs.[18] By the late 1980s, legal action by The Beatles had halted commercial availability of the albums.[19] In addition to continued inclusion on bootlegs, a small U.S. record label issued the songs on CD through mail order in 2007 as The Lost Decca Sessions, which it described as legal and licensed.

Cavern Club rehearsals (1962)

Sometime between August and December 1962, The Beatles recorded themselves rehearsing at The Cavern Club, performing "I Saw Her Standing There", "One After 909" (two versions), and "Catswalk" (two versions).[20]

Star-Club performances (1962)

Main article: Live! at the Star-Club in Hamburg, Germany; 1962
As The Beatles were concluding their final two-week Hamburg engagement in late December 1962, portions of their performances were taped by Star-Club stage manager Adrian Barber; the tapes ended up with Ted "Kingsize" Taylor, the leader of another band playing at the club.[21] Eventually Taylor sold the tapes, which formed the basis of the double album Live! at the Star-Club in Hamburg, Germany; 1962, released in 1977 by Lingasong Records.

The liner notes for the initial release falsely implied that the recordings had been made in the spring of 1962, prior to The Beatles' EMI contract, on a night when Ringo Starr happened to be sitting in for Pete Best. In commentary for a lawsuit to block the album's release, John Lennon wrote, "the sleeve note, apart from being inaccurate, seems to have been written with a court case in mind." The Beatles lost their case, so the album was viewed as a legitimate release. The thirty songs contained on the initial releases were re-licensed over the following two decades to multiple record labels, most notably Sony Music, which packaged the songs in CD form in 1991 (although the product was withdrawn the following year as legal action was pending from The Beatles). After another lawsuit by The Beatles, Lingasong agreed in 1998 to hand over the original tapes and stop all sales.

The sound quality of the tape is poor, with the vocals in particular sounding "muffled and distant" at best.[21] The Beatles display a rawness that matches the raucous Hamburg atmosphere. While The Beatles would later record many of the thirty songs in the studio or perform them for the BBC, nine of the songs would never be officially released in another version.[21]
Additional material from the Star-Club tapes has been bootlegged, including "Road Runner", "Money (That's What I Want)" (with Tony Sheridan singing lead), a portion of "Red Hot", and alternate performances of several songs.[21]

The BBC sessions (1962–1965)

Main article: Live at the BBC
The Beatles performed for fifty-two BBC Radio programmes, beginning with an appearance on the series Teenager's Turn—Here We Go, recorded on 7 March 1962, and ending with the special The Beatles Invite You to Take a Ticket to Ride, recorded on 26 May 1965; in total, 275 performances of 88 different songs were broadcast.[4] Early bootlegs of some of the performances were based on low-quality home recordings of the broadcasts from the radio. It was not the BBC's practice to archive either the session tapes or the shows' master tapes, but many good quality distribution copies were found in various BBC departments during research for BBC radio specials produced in the 1980s.[22]

Increasingly comprehensive collections of the BBC performances were bootlegged in the 1980s and early 1990s. The most notable of these was The Complete BBC Sessions, a nine-CD box set released in 1993 by Great Dane in Italy, where copyright protection for the broadcasts had expired;[23] The widespread availability of good quality bootlegs prompted Apple's own release of BBC performances in 1994, the two-CD set Live at the BBC. The set included 30 of the 36 songs that The Beatles never performed on their studio albums, plus 26 other songs and dialogue among the group members and the radio hosts.




Bootleggers have continued to package collections of nearly every Beatles BBC performance (a few early shows remain unavailable), along with outtakes from a small number of BBC session tapes that have survived. Secret Trax released a ten-CD set in 2001;[24] in 2004, Purple Chick released a digital set of ten audio CDs plus one multimedia CD.[13]

Studio outtakes (1962–1970)

A large number of Beatles studio outtakes are available on bootlegs, ranging from complete session tapes—for example, the morning sessions for the Please Please Me album—to more fragmentary samplings, or alternate mixes and performances derived from acetates. The first studio outtake to appear on bootleg was the White Album outtake "What's The New Mary Jane" in 1972, which fell into the hands of bootleggers via an acetate that Lennon had traded to a friend. In 1977, rough mixes from acetates of "I Am The Walrus" and "The Fool On The Hill" appeared on bootlegs after being played on a Radio Luxembourg broadcast.[25]

After The Beatles' EMI contract expired in 1976, the company began assessing the band's unreleased material for a future release. The first batch of songs to leak came from an in-house compilation cassette that contained "Leave My Kitten Alone", "One After 909" (from 1963), "If You've Got Trouble", "Christmas Time (Is Here Again)", "That Means a Lot", "Come and Get It", "Dig a Pony" (unedited version), and two medleys from the Get Back/Let It Be sessions: "Rip It Up/Shake, Rattle and Roll" and "Not Fade Away/Bo Diddley".[26]

The John Barrett Tapes

In 1981, in-house engineer John Barrett was given the task of cataloguing the complete collection of tapes from the band's seven-year career with EMI. This led to two projects: a public audio-visual presentation at Abbey Road Studios called The Beatles Live at Abbey Road (which opened on 18 July 1983) and a planned outtakes album which was to be called Sessions. In addition to some of the songs included on the previously leaked compilation tape, Sessions added "Not Guilty", "What's the New Mary Jane", "How Do You Do It?", "Bésame Mucho", "Mailman, Bring Me No More Blues", "While My Guitar Gently Weeps" (demo), and early takes of "Ob-La-Di, Ob-La-Da" and "I'm Looking Through You".[26] Shortly before the album's scheduled 1985 release, it was vetoed by the surviving members of the band; but both audience recordings of the Abbey Road presentation and the leaked promos of Sessions became available to bootleggers. These songs appeared on bootleg series such as Ultra-Rare Trax and Unsurpassed Masters, along with other material presumably copied while preparing these projects. Most of the aforementioned tracks were officially released on the Anthology albums in 1995 and 1996.

New Beatles studio outtakes continue to occasionally appear; in February 2009, a complete 10:46 recording of Revolution 1 (Take 20) from the White Album was released on the bootlegRevolution: Take... Your Knickers Off!.This version starts with Lennon jokingly counting that way.[citation needed]

Live concerts (1963–1966)

Many of The Beatles' concert performances have appeared on bootleg albums. The earliest relatively complete concert recording is from the 7 December 1963 show at the Liverpool Empire Theatre.[27] The Beatles Anthology contained video clips from several concerts, some of which are available in complete form on bootleg video. The following are some of the most notable concerts on bootleg releases.
Washington Coliseum, 1964. The Beatles' first US concert, on 11 February 1964 in Washington, D.C., was captured on black-and-white video for later closed-circuit presentations inmovie theatres.[28] Some of the video was included in Anthology and in The Beatles: The First U.S. Visit, and most of it was included in the 2003 DVD The Beatles in Washington D.C. from Passport Video. The entire video was released on the gray market DVD Beatles Around the World.[28] All video releases suffer from "dark, grainy, and flickery" image quality;[28] a report of a 2005 auction of the original master tape gives the possibility of a better quality release in the future.[29] In 2010 The Beatles at last came to iTunes and along with their back catalogue they brought with them a video of this show.[30] The video was made available with the purchase of the iTunes version of The Beatles Stereo Box Setsimply called The Beatles Box Set where all albums were release as iTunes LP's featuring on-screen album artwork and the Mini Documentaries from the DVD in the physical release.[31]

Hollywood Bowl, 1964 and 1965. The Beatles at the Hollywood Bowl, an official release by EMI in 1977, contained selections from The Beatles' three Hollywood Bowl shows professionally recorded in August 1964 and August 1965. There has never been an official CD release of the album, although bootleg needle drop copies are available, as well as bootleg compilations of the three performances in their entirety. One song from these shows has been officially released on CD: "Baby's in Black" (which was not on the 1977 album), as an additional track on the 1996 "Real Love" CD single.
Palais des Sports, 1965. The Beatles performed two shows on 20 June 1965 at the Palais des Sports in Paris. Both were broadcast over French radio, resulting in bootleg recordings of decent quality; video of the second show also exists.[32]

Shea Stadium, 1965. 


The Beatles' concert at Shea Stadium on 15 August 1965 was filmed for a television special, The Beatles at Shea Stadium. The program and its soundtrack have been bootlegged in various formats. One song, "Everybody's Trying to Be My Baby", was official released on Anthology 2.

Budokan, 1966. 

The Beatles performed for two nights at the Nippon Budokan in Tokyo beginning 30 June 1966, with both concerts filmed in color for Japanese television. The first night's concert video was officially released by Apple in Japan only as Beatles Concert at Budokan 1966.[33] Although one of the best concerts in terms of audio and video quality, The Beatles' performances were sluggish and sloppy.[33] Excerpts were included in the The Beatles Anthology.

Candlestick Park, 1966. 

Notable as The Beatles' final paid concert performance, the 29 August 1966 show at Candlestick Park in San Francisco was taped by press officer Tony Barrow on a portable recorder at the request of McCartney; the tape ran out before the last couple minutes of the show.[34]

Television performances (1963–1968)

The Beatles performed on various television programmes; excerpts from many of these were shown in the Anthology documentary, and bootleg video exists of many of the shows in their entirety. The most famous of these were the four appearances on The Ed Sullivan Show in 1964 and 1965; after many years circulating on bootlegs, these received official DVD release in 2003 as The Four Complete Historic Ed Sullivan Shows Featuring The Beatles.[35]

Other notable television performances that have appeared on bootleg video include the Swedish show Drop In from October 1963 (four songs);[36] the April 1964 UK special Around The Beatles (six songs mimed to new recordings);[37] the June 1964 Australian special The Beatles Sing for Shell (seven songs survived in complete form, plus fragments of two others);[38]and a September 1968 appearance on Frost on Sunday (new vocals for "Hey Jude" and "Revolution" over studio backing tracks, plus brief improvisations), for which multiple takes are available.[39]
Home demos (1963–1969)

The individual Beatles sometimes recorded basic performances at home of their new compositions, either for copyright purposes (to be sent to Dick James Music publishing affiliateNorthern Songs), to later play for the other Beatles, or to give to other artists who would be recording the songs.
Many of Lennon's demos that appeared on bootlegs were first heard on the radio series The Lost Lennon Tapes. Some of the Lennon demos available include "Bad To Me" (1963, given to Billy J. Kramer), "I'm in Love" (1963, given to The Fourmost), "If I Fell" (1964), and "Everyone Had A Hard Year" (1968, later incorporated into "I've Got a Feeling"). There are also Lennon demos available of songs that would develop into "She Said She Said", "Strawberry Fields Forever", "Good Morning Good Morning", "Across the Universe", "You Know My Name (Look Up The Number)", "Don't Let Me Down", and two songs he would later record after The Beatles, "Oh My Love" and "Cold Turkey".

McCartney's demos include "One and One Is Two" (1964, eventually an uncharted single for Mike Shannon and the Strangers), "Step Inside Love" (1968, given to Cilla Black), "Goodbye" (1969, given to Mary Hopkin), "Come and Get it" (1969, given to Badfinger), and early versions of "We Can Work It Out" (partially taped over by Lennon) and "Michelle". Harrison's 1963 demo for "Don't Bother Me" has also been bootlegged.

Christmas recordings (1963–1969)

Main article: The Beatles' Christmas Album
Each year from 1963 through 1969, The Beatles recorded a flexi disc of comedy and music that was sent to members of their fan club. In 1970, these recordings were compiled onto an LP released via their fan club called From Then to You (U.S. title: The Beatles' Christmas Album). Since this album has had no official general-public release, it has been frequently bootlegged, often with additional outtakes from some of the Christmas recording sessions. A portion of one song recorded for the 1967 Christmas flexi disc, "Christmas Time (Is Here Again)", was officially released as an additional track on the 1995 "Free as a Bird" single. Part of the 1963 track is featured as an unlockable special feature on The Beatles: Rock Band.

The White Album (Kinfauns) demos (1968)

In May 1968, The Beatles met at Kinfauns, the Esher home of George Harrison, to review and record demos of songs under consideration for their next album; twenty-seven songs, mostly acoustic, have become public from this session.[40] Seven of the songs were released on Anthology 3, including "Junk", a song McCartney would later record for his first solo album. Of the twenty demo songs not officially released, fifteen would be recorded and released on the White Album, while "Not Guilty" and "What's the New Mary Jane" would be recorded for the album but not make the final lineup. The recordings included on the anthology are of a significantly higher fidelity than the bootlegged recordings, raising the possibility that there are higher quality versions of all twenty-seven songs. As a number of the songs included on the anthology were included in edited form, it has been suggested that the release of all the Esher demos as a legitimate future Beatles release is likely.
The other three songs would never be recorded in the studio by The Beatles:
"(I'm Just a) Child of Nature", later released by Lennon, with different lyrics, as "Jealous Guy".
"Circles", later released by Harrison on his "Gone Troppo" album.
"Sour Milk Sea", a Harrison song later recorded by Jackie Lomax as one of the earliest Apple Record singles.

Get Back/Let It Be sessions (1969)

Further information: Let It Be
In January 1969, the group got together with director Michael Lindsay-Hogg to film the rehearsals for the band's first live concert since 1966. The rehearsals and concert would concentrate on new material, and form the basis for a television documentary and a new album.[41] Disagreements within the group led to much of the plan being scrapped. The planned concert was scaled back to a rooftop performance at Apple Records on 30 January 1969; the footage became a feature film, Let It Be, released with the album of the same name in May 1970.

The rehearsals and recordings took place at Twickenham Film Studios (2–14 January) and then at Apple (20–31 January), with more than one hundred hours captured on film and the corresponding Nagra tape recorders used for the film's audio track. These Nagra tapes are the source for most of the bootlegs from these sessions.[41] In addition to songs that would later be released by the group, The Beatles played hundreds of cover versions and original compositions. However, many of the performances were brief (some lasting less than ten seconds), and many of the original compositions are undeveloped ideas or improvisations that have been described as the audio equivalent of doodling.[41] A sampling of the rehearsals was officially issued as a bonus disc with Let It Be... Naked.

Among the more complete rehearsed songs that have been featured on bootlegs are "Watching Rainbows", "Commonwealth", and "The Palace of the King of the Birds" (later recorded but not released by McCartney as "Castle of the King of the Birds"); "All Things Must Pass" and "Hear Me Lord'", later released by Harrison; "Gimme Some Truth", later released by Lennon; and "Teddy Boy" and "Hot as Sun", later released by McCartney.

Portions of the rooftop concert were seen in the Let It Be film and the Anthology documentary, and three tracks were used for the Let It Be album, while the complete recording has been bootlegged. The performance consisted of "Get Back" (first and second versions), "Don't Let Me Down", "I've Got a Feeling", "One After 909", "Dig a Pony", "God Save the Queen" (a brief version played while the audio tape reel was changed), "I've Got a Feeling" (second version), "Don't Let Me Down" (second version), and "Get Back" (third version).

On 30 January 1969, Glyn Johns compiled some performances he had been mixing, and made acetate copies for The Beatles. In addition to songs that would eventually appear on Let It Be, this set included "Teddy Boy" and "The Walk" (a song by Jimmy McCracklin). It was this version that first leaked out, was broadcast on multiple radio stations starting in September 1969, and formed the basis for the bootleg Kum Back that appeared near the end of 1969.[42] Johns started working in earnest on compiling an album in March 1969, and a test acetate from this period eventually surfaced on a poor quality bootleg.[2]

Johns later made two "official" attempts at compiling the Get Back album, with both versions widely bootlegged. The 28 May 1969 compilation by Johns contained the following lineup: "One After 909", "Rocker", "Save the Last Dance for Me", "Don't Let Me Down", "Dig A Pony", "I've Got a Feeling", "Get Back", "For You Blue", "Teddy Boy", "Two of Us", "Maggie Mae", "Dig It", "Let It Be", "The Long and Winding Road", and "Get Back (Reprise)". The main changes made for the 5 January 1970 compilation were the removal of "Teddy Boy" and the additions of "I Me Mine" and "Across the Universe".[43]
One of the myriad Get Back session compilation bootlegs was The Black Album, a five-LP set from the 1980s in a memorable package (although the material has since been bootlegged in superior sound quality).[12] In the early 2000s, Yellow Dog Records created Day by Day, a 38-part CD series comprising the Nagra tape recordings in their entirety, with improved audio quality compared to earlier releases. In January 2003, nearly 500 of the original Nagra tapes were recovered by police in England and the Netherlands, with five people arrested.[44] Even after the raid, bootlegging of the material continued with the Purple Chick label releasing their own digital A/B Road Nagra tape collection.

Post break-up

While there are hundreds of bootlegs based on the solo careers of the members of the band, one is particularly noteworthy as the only known recording of Lennon and McCartney together after The Beatles broke up. A loose jam involving the two, along with Stevie Wonder, Harry Nilsson, and others, was recorded at Record Plant Studios in Los Angeles on 28 March 1974. The recording did not surface until 18 years later when a portion of it was released on bootleg as A Toot and a Snore in '74. The recording is known more for its historical significance than the quality of the performances.
Studio album remasters

As digital technology progressed since the CD releases of The Beatles' studio albums in 1987, audiophiles became increasingly disappointed with the sound quality of the official CDs. Several bootleggers undertook their own remasterings of the entire Beatles catalogue, of both mono and stereo original releases, typically using premium vinyl pressings played and digitised with high-end audio equipment. While these unauthorized copies are not bootlegs as commonly defined, their creation and distribution channels overlap with bootleg products.

Some of the widely distributed collections are the Millennium Remasters series and The Beatles' remasters on "DLH Records", also the series by the bootlegger known as "Dr. Ebbetts". Several other bootleggers have created their own collections of remasters distributed solely by digital download, including Purple Chick, which supplements the remastered albums with related outtakes.
The official remastering of The Beatles' catalogue in stereo and mono, released in September 2009, may have made bootleg remasters obsolete: Ebbetts announced that he would no longer make his versions available after he heard advanced samples of the official remasters which he judged to be superior. The Beatles' official catalogue of their original stereo studio albums has since been issued via digital download through iTunes.

Material not bootlegged

A considerable amount of additional never-circulated Beatles material is believed to exist, either in private possession or studio vaults, as mentioned in documents and recollections.

From the group's early years, it has been reported that additional songs exist from the 1960 Quarrymen rehearsal tapes, including a Lennon/McCartney instrumental "Winston's Walk" and early versions of "When I'm Sixty-Four" and "Ask Me Why".[15] Another recording of historical interest is a tape of eighteen songs from a Beatles show in mid-1962 at the Cavern Club, recorded from the audience. The tape includes several cover versions of songs not available elsewhere by The Beatles, including the Bruce Channel number one "Hey! Baby",James Ray's "If You Gotta Make a Fool of Somebody", and the Bobby Vee hit "Sharing You". McCartney bought the tape at a 1985 auction, and since none of it was used for Anthology, it has been assumed to be of poor sound quality.[45]

Many demo recordings are known to have been made by the individual Beatles but have yet to become public. Lennon's uncirculated demos include "Do You Want to Know a Secret", "I Call Your Name", "No Reply" (pre-dating the one on Anthology), "In My Life", and "Good Night". McCartney's uncirculated demos include "A World Without Love", "It's for You", "What Goes On", "Eleanor Rigby", "Etcetera" (a 1968 song intended for Marianne Faithfull), and "The Long and Winding Road".

Between the official Anthology releases and the numerous outtakes that have been bootlegged, many of The Beatles' most interesting studio recordings are available in some form. Nevertheless, there are still recordings known to be in EMI's archives that have generated particular interest in their eventual release. One is "Carnival of Light", an improvised fourteen-minute vocal and sound collage that The Beatles created in early 1967 for an art festival; the recording was under consideration for Anthology, and McCartney has been an advocate for its release.[46] Another is take 3 of "Helter Skelter" from 18 July 1968, renowned for its length of twenty-seven minutes. Anthology 3 included only a 4:38 edit of the 12:35 take 2 from that day's work on the song; asked why a longer version wasn't issued, George Martin explained: "I think it gets boring."[47]

Some recordings may no longer exist, if they ever existed originally. A Quarrymen rehearsal that was recorded at Colin Hanton's home was taped over. BBC documentation shows that "Sheila" and two versions of "Three Cool Cats" were recorded and never broadcast, but the tapes were likely reused or discarded, a fate shared by some of The Beatles' studio session tapes prior to late 1963. Carl Perkins has said that he joined The Beatles in the studio for a late night jam session on 1 June 1964, but this was probably not taped. Several Lennon/McCartney titles were mentioned in a 1960 letter from McCartney, including "Looking Glass", "Years Roll Along", and "Keep Looking That Way", but there is no evidence that tapes were ever made of those songs during rehearsals from that era.

One final source of uncirculated recordings is the set of sessions held in 1994–1995 for the Anthology project. In addition to the two songs released, two other Lennon demos (which have been bootlegged) became the basis for additional work by the other three Beatles: "Now and Then" and "Grow Old With Me". "Now and Then" was close to being the third new song for Anthology, but it needed more work than the two released songs and was left unfinished; McCartney has indicated an interest in completing the song with Starr.[48] A new song composed by McCartney and Harrison, "All for Love", was also reportedly recorded by the three ex-Beatles at the sessions but never finished.

Fake or disputed bootleg songs

A number of songs have been incorrectly claimed by bootleggers to be unreleased Beatles songs. Some originated as spoofs or parodies: "Bye Bye Bye" (Kenny Everett), "Cheese and Onions" (The Rutles), "Magical Misery Tour" (National Lampoon featuring Tony Hendra). Some were by obscure artists whose names were subject to misinterpretation, such as John and Paul ("People Say"/"I'm Walking"),The Beetles ("The Girl I Love") and John Lennon and the Bleechers ("Ram You Hard"). Some were by groups with a (sometimes intentional) Beatlesque style, such as The Fourmost ("I Love You Too"), The Gants ("I Wonder"), The End ("Shades of Orange"/"Loving Sacred Loving"), Lavender Circus ("N. Bourbaki's Multicoloured Jam"), and Smyle ("It's Gonna Be Alright"); or with a lead vocalist sounding like one of The Beatles, as on "We Are the Moles" (Simon Dupree and the Big Sound as The Moles, or Sub-Rosa Subway by Klaatu.

A few "outfakes" have been labelled as Beatles tracks many times:
"Have You Heard the Word". This song was credited to The Fut, and it was rumoured to include some of The Beatles playing with some of The Bee Gees. The actual participants in the 1969 recording were Maurice Gibb, the duo Tin Tin, and Billy Laurie. The recording was so plausible as a Lennon song that Yoko Ono tried to copyright its lyrics as a Lennon composition after his death.[49]

"The L.S. Bumble Bee". Peter Cook and Dudley Moore combined psychedelic music with lyrics spoofing LSD. It was rumoured that Lennon was somehow involved, perhaps as a rebuttal to the controversy about possible drug references in songs like "Lucy in the Sky with Diamonds", but Moore has denied this; the song actually pre-dates Sgt. Pepper, having been released in January 1967.[49]

"Oh, I Need You" (also identified as "Oh, I Want You"). This song was purported to have been recorded during early sessions for Abbey Road. The artist has not been determined with certainty, but it is often attributed to the band Mortimer, who signed with Apple Records in 1968.

"Peace of Mind/The Candle Burns". The song was reportedly found in the Apple trash in 1970, and still has an unknown origin. Some claim it to be an actual Beatles home demo from around 1967, though the lack of any corroborating evidence and the voices on the record have left Beatles experts convinced that it too is a fake.

See also

The Beatles' recording sessions
Notes
1. ^ Heylin (2004), p. 8.
2. ^ a b Unterberger (2006), pp. 282–283.
3. ^ Unterberger (2006), p. 371.
4. ^ a b Unterberger (2006), pp. 26–29.
5. ^ a b c Heylin (2004), p. 207.
6. ^ Reinhart (1981), pp. xix–xxi.
7. ^ a b Unterberger (2006), pp. 365–366.
8. ^ Heylin (2004), p. 209.
9. ^ Heylin (2004), pp. 229–231.
10. ^ Heylin (2004), pp. 309–310.
11. ^ Heylin (2004), p. 277.
12. ^ a b c Unterberger (2006), p. 368.
13. ^ a b Kozinn, Allan (26 December 2008). "Hard Day’s Night for Beatles Reissues". New York Times. Retrieved 4 August 2009.
14. ^ Greene, Andy (1 May 2008). "Best DIY reissues: Beatles remasters". Rolling Stone. Retrieved 4 August 2009.
15. ^ a b c Unterberger (2006), pp. 4–10.
16. ^ Unterberger (2006), p. 7.
17. ^ Winn (2008), pp. 2–4.
18. ^ Weiner, Allen J. (1992). The Beatles: The Ultimate Recording Guide. Facts on File. pp. 99, 141. ISBN 0-8160-2511-8.
19. ^ Unterberger (2006), p. 23.
20. ^ Unterberger (2006), pp. 36–37.
21. ^ a b c d Unterberger (2006), pp. 37–42.
22. ^ Buskin, Richard (March 1995). "Raiders Of The Lost Archive: The Beatles Live At The Beeb". Sound on Sound. Retrieved 12 July 2009.
23. ^ Kozinn, Allan (4 December 1994). "Recordings View: The Beatles Meet The Bootleggers On Their Own Turf". New York Times: p. 38. Retrieved 12 July 2009.
24. ^ Heylin (2004), p. 310.
25. ^ "The History of Beatles Bootlegs". Whizzo. May 1998. Retrieved 10 August 2009.
26. ^ a b "The Road to Sessions". Whizzo. May 1998. Retrieved 10 August 2009.
27. ^ Unterberger (2006), p. 76.
28. ^ a b c Unterberger (2006), pp. 306–309.
29. ^ "Beatles' Closed-Circuit Gig". The Pop History Dig. 9 July 2008. Retrieved 10 August 2009.
30. ^ "In 1964 the band that changed everything came to America. Now they're on iTunes". The Beatles on iTunes. 16 November 2010. Retrieved 17 December 2010.
31. ^ "IThe Beatles Box Set". The Beatles Box Set by The Beatles - Download The Beatles Box Set on iTunes. 16 November 2010. Retrieved 17 December 2010.
32. ^ Unterberger (2006), pp. 124–125.
33. ^ a b Unterberger (2006), pp. 321–322.
34. ^ Unterberger (2006), pp. 151–153.
35. ^ Unterberger (2006), p. 309.
36. ^ Unterberger (2006), p. 305.
37. ^ Unterberger (2006), pp. 311–312.
38. ^ Unterberger (2006), pp. 312–313.
39. ^ Unterberger (2006), pp. 326–327.
40. ^ Unterberger (2006), pp. 195–200.
41. ^ a b c Unterberger (2006), pp. 226–230.
42. ^ Winn (2009), p. 261.
43. ^ Lewisohn, Mark (1988). The Beatles Recording Sessions. Harmony Books. pp. 176, 196. ISBN 0-517-58182-5.
44. ^ Fricke, David (20 January 2008). "Buried Treasure: The Story of The Beatles' Lost Tapes". Rolling Stone. Retrieved 17 August 2009.
45. ^ Unterberger (2006), pp. 43–44.
46. ^ Grey, Sadie (16 November 2008). "The weirdest Beatles track of all may be released, 41 years on". The Independent. Retrieved 15 August 2009.
47. ^ Unterberger (2006), p. 223.
48. ^ Goodman, Chris (29 April 2007). "Beatles Back to Where They Once Belonged". Sunday Express. Retrieved 16 August 2009.
49. ^ a b Unterberger (2006), p. 359.

References
Belmo (1997). The Beatles Not For Sale: The Beatles' Musical Legacy as Archived on Unauthorized Recordings. Collector's Guide Publishing. ISBN 0-9698080-9-7.
Heylin, Clinton (2004). Bootleg! The Rise and Fall of the Secret Recording Industry. Omnibus Press. ISBN 1-84449-151-X.
Madinger, Chip and Easter, Mark (2000). Eight Arms To Hold You: The Solo Beatles Compendium. 44.1 Productions. ISBN 0-615-11724-4.
Reinhart, Charles (1981). You Can't Do That: Beatles Bootleg and Novelty Records. Contemporary Books. ISBN 0-8092-5394-1.
Sulpy, Doug (2006). The Complete Beatles Audio Guide. The 910. ISBN 0-9643869-7-6.
Unterberger, Richie (2006). The Unreleased Beatles: Music and Film. Backbeat Books. ISBN 0-879308-92-3.
Winn, John C. (2008). Way Beyond Compare: The Beatles' Recorded Legacy, 1957–1965. Random House. ISBN 0-307-45157-7.
Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy Volume 2, 1966–1970. Random House. ISBN 0-307-45239-5.

External links

• Kum Back — background on the early bootleg album.
• Doug Sulpy website — a prolific writer concerning Beatles bootlegs.
• beatlesong.info — includes bootleg titles associated with each song.
• A History of Beatles Bootlegs — covering the 1970s.
• Bootleg Zone — a large bootleg database with emphasis on The Beatles.

Source: http://en.wikipedia.org/wiki/The_Beatles_bootleg_recordings

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 job 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.

Beatles Complete Rooftop Concert-10
‘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.’


Beatles Sessions-9
‘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.


Beatles Complete BBC Sessions-8
‘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.


Beatles Artifacts-7
‘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.


Beatles Get Back Glyn Johns Final Compilation-6
‘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.


Beatles Unsurpassed Masters-5
‘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.


Beatles Alternate Abbey Road-4
‘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.


Beatles Turn Me on Dead Man-3
‘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.


Beatles Ultra Rare Trax-2
‘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.


Beatles Acoustic Masterpieces-1
‘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.

Source: http://ultimateclassicrock.com/beatles-bootleg-albums/

Chaos and Creation at Abbey Road was meant as a promotion for McCartney's album Chaos and Creation in the Backyard. As the audience was of close friends and selected fans, the concert was intimate in nature and was littered with monologues and song fragments. It was shown on BBC Two in the United Kingdom on 17 December 2005,[1] and on PBS in the United States on 27 February 2006 as part of the performing arts series Great Performances.[2]

McCartney plays left-handed and right-handed guitars, drums, harmonium, double bass, Mellotron, and even wine glasses in a reworking of the Wings song "Band on the Run". He also reworks the Beatles' track "Lady Madonna", which he calls "Old Lady in New Clothes", with a much slower tempo and a swung melody line.

The bass McCartney uses on his performance of "Heartbreak Hotel" once belonged to Bill Black, Elvis Presley's bass player who died in 1965.
Track listing

All songs by Paul McCartney, except where noted.

    "Friends to Go"
    "How Kind of You"
    "Band on the Run"
    "In Spite of All the Danger" (McCartney/Harrison)
    "Twenty Flight Rock" (Cochran)
    "Lady Madonna" (Lennon–McCartney)
    "English Tea"
    "Heartbreak Hotel" (Durden/Axton/Presley)
    "Jenny Wren"
    "I've Got a Feeling" (Lennon–McCartney)
    "Blackbird" (Lennon–McCartney)
    "Blue Suede Shoes" (Perkins)

Source: https://en.wikipedia.org/wiki/Chaos_and_Creation_at_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 ]

You can listen to them here in vinyl:

1) https://www.youtube.com/watch?v=bj5bcnhSfqg

2) https://www.youtube.com/watch?v=SprcCtSNOik

3) https://www.youtube.com/watch?v=Ed8Z13swa4M

4) https://www.youtube.com/watch?v=PeE7NwgnE1Y

5) https://www.youtube.com/watch?v=QGeLTNVPAWw




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/

Happy holidays from the Beatles: As of 12:01 a.m. on Dec. 24, the band’s music will finally be available on streaming services worldwide.

The group announced the news in a 35-second video featuring a medley of its biggest hits that kicks off to the sound of the 1963 single “She Loves You.” An accompanying news release simply said: “Happy Crimble, with love from us to you.”

However, the surviving members of the group, Paul McCartney and Ringo Starr, along with Universal Music Group, which controls the band’s recorded music, made no statements other than the fact that the Beatles’ catalog — 13 original albums and four compilations — will now be playable on nine subscription streaming music services: Spotify, Apple Music, Google Play, Amazon Prime Music, Tidal, Deezer, Microsoft Groove, Napster/Rhapsody and Slacker Radio.

Known as singular holdouts in the digital era, the Beatles, the best-selling group of all time, resisted offering its songs on iTunes for more than seven years before coming to an agreement with Apple in 2010. “It’s fantastic to see the songs we originally released on vinyl receive as much love in the digital world as they did the first time around,” Mr. McCartney said at the time. The band sold 450,000 albums and two million individual songs in its first week on the service, according to Apple.

Now, streaming is the industry sea change too big to ignore. This month, Warner Music Group, one of the so-called big three label groups, said streaming revenue exceeded download revenue for the year. And other classic rock resisters have come around recently: AC/DC started streaming its music this summer, following Led Zeppelin and Pink Floyd in 2013. (The Beatles were already available on Pandora, the Internet radio service, since it does not offer on-demand songs; a court decision recently raised the royalty rate for labels and performers on those services, known as pureplays. The band members’ solo material is also widely available.)

Modern artists, however, have started to resist streaming in certain rarefied cases. Taylor Swift, who helped persuade Apple Music to pay royalties during its free-trial period when she protested publicly, has not made her albums available on streaming services with a free tier, like Spotify, while Adele has so far kept her blockbuster “25” off streaming services altogether. The Beatles’ music will be available on the free and premium versions of services that have both.

Source: http://www.nytimes.com/2015/12/23/arts/music/beatles-fans-start-your-streaming-playlists.html?_r=0

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Spotify
The Beatles Channel
http://open.spotify.com/special/thebeatles
320 Kbps



Big R Radio
The Beatles Channel
http://tunein.com/radio/Big-R-RadioThe-Beatles-Channel-s160841/
128 Kbps


Dj Heart
The Beatles - I Saw Her Standing There
http://www.opmradio.com
Genres: various
16 Listeners
64 Kbps


Beatles Radio
The Beatles - Please Mister Postman
http://www.beatlesradio.com
Genres: classic rock pop pop oldies classic rock
14 Listeners
128 Kbps


Beatlesarama
Manfred Mann - Pretty Flamingo
http://www.beatlesarama.com
Genres: classic rock
13 Listeners
64 Kbps


THE BEATLES - FAB4RADIO 
John, Paul, George & Ringo
George Harrison - My Sweet Lord [Demo] [kZQ]
http://fab4radio.blogspot.com/
Genres: rock
4 Listeners
128 Kbps


Beatle Radio
http://www.heartbeatofflagler.com
Genres: all beatles
4 Listeners
128 Kbps


Slacker Radio
Beatles Stations
http://www.slacker.com/thebeatles#listen
128 Kbps



POLSKASTACJA.PL Najwieksze Przeboje
60 70 (Polskie Radio) 48kbps
Beatles - Ob-La-Di,Ob-La-Da
http://www.polskastacja.pl
Genres: polskie polska oldies
4 Listeners
48 Kbps


Acid Flashback
A psychedelic blend of Classic, Pro, New Wave, Jazz, Blues, Alternative, Independent
Beatles - Strawberry Fields Forever [Tak
http://internetFM.com
Genres: rock
3 Listeners
96 Kbps


Backyard Radio 77380 TX USA
Tanya Tucker - Something - Beatles - Come Together America Salutes
http://www.backyardradio.com
Genres: local news events and music
2 Listeners
64 Kbps


El Golfo Radio
The Beatles - Something
http://elgolforadio.com
Genres: easy listening
2 Listeners
128 Kbps


La Cabina de Teo Veras: by Dominican Internet Group
Beatles - Michelle. 1966 - La Cabina de Teo Veras
http://www.teoveras.com.do
Genres: rock
2 Listeners
128 Kbps


TAB Radio
Beatles - Twist and Shout
http://radio.tab.or.th
Genres: misc
1 Listeners
128 Kbps


Stream Name
The Beatles (1964) - John Lennon & Paul McCartney: Martha My Dear (The Beatles (White Album)) [Kob
http://streamsound.dk
Genres: unspecified

SpacialNet: Coney Island Radio
Beatles - Cant Buy Me Love
http://www.bigbarkcommunications.com
Genres: misc
0 Listeners
64 Kbps


Esporte Radio
The Beatles - All You Need Is Love
http://www.esporteradio.com
Genres: sports
0 Listeners
64 Kbps


KORE-LP FM
Beatles - Norwegian Wood
http://kore.fm
Genres: community
0 Listeners
128 Kbps


Maca Radio
Paul McCartney and Beatles Radio
http://www.macca-central.com/maccaradio/index.php
Paul McCartney, Beatles Solo, and Beatles songs





Source: http://www.internet-radio.com/search/?radio=beatles&page=/

Chaos and Creation at Abbey Road, recorded on 28 July 2005, was a live concert given by Paul McCartney at Abbey Road Studios, specifically Studio 2, where many of The Beatles' recordings were made.

Chaos and Creation at Abbey Road was meant as a promotion for McCartney's album Chaos and Creation in the Backyard. As the audience was of close friends and selected fans, the concert was intimate in nature and was littered with monologues and song fragments. It was shown on BBC Two in the United Kingdom on 17 December 2005,[1] and on PBS in the United States on 27 February 2006 as part of the performing arts series Great Performances.[2]

McCartney plays left-handed and right-handed guitars, drums, harmonium, double bass, Mellotron, and even wine glasses in a reworking of the Wings song "Band on the Run". He also reworks the Beatles' track "Lady Madonna", which he calls "Old Lady in New Clothes", with a much slower tempo and a swung melody line.

The bass McCartney uses on his performance of "Heartbreak Hotel" once belonged to ill Black, Elvis Presley's bass player who died in 1965.

July 16, 2014 9:00 AM ET Ron Howard,Courtesy Imagine Entertainment When Ron Howard was 9 years old, he was already a national television star on The Andy Griffith Show – and there was only one thing he wanted for his next birthday. "The gift that I was begging for was a Beatle wig," he tells Rolling Stone with a laugh. "And on March 1st, 1964, that's what I got: the Beatle wig of my dreams."

Now the Academy Award-winning director is coming full circle with his Fab Four obsession, having signed on to direct and produce an authorized, as-yet-untitled documentary about the touring years of the band’s career (approx. 1960-1966), a period in which the Beatles crossed the globe, sparked Beatlemania and released several classic albums (including A Hard Day’s Night and Rubber Soul). For it, he will interview surviving members Paul McCartney and Ringo Starr, as well as talk with Yoko Ono and Olivia Harrison (wife of the late George Harrison).

"What's so compelling to me is the perspective that we have now, the chance to really understand the impact that they had on the world," Howard says. "That six-year period is such a dramatic transformation in terms of global culture and these remarkable four individuals, who were both geniuses and also entirely relatable. That duality is something that is going to be very interesting to explore."

Howard is joined by Nigel Sinclair, the Grammy-winning producer behind the documentaries George Harrison: Living in the Material World and No Direction Home: Bob Dylan, as well as the producers Brian Grazer (Apollo 13, Get on Up) and Scott Pascucci (George Harrison). They will have access to the vast archives of Apple Corps, the Beatles’ company, as well as incorporate fan-sourced amateur video footage to recreate previously unseen concerts. It's Howard’s second music documentary, following last year’s Jay-Z festival film Made in America.

"We are going to be able to take the Super 8 footage that we found, that was all shot silent. We'll not only be able to digitally repair a lot of that, but we've also been finding the original recordings," explains Howard. "We can now sync it up and create a concert experience so immersive and so engaging, I believe you're going to actually feel like you're somewhere in the Sixties, seeing what it was like to be there, feeling it and hearing it. And as a film director, that's a fantastic challenge."

Sinclair says the team has already unearthed some surprising footage from the Beatles’ final concert at San Francisco's Candlestick Park in 1966. "Their last concert in ’66, when they were probably the most famous people on the planet, [they] ended up carrying their own amps onstage. I think that’s almost emblematic of the charm of this story," he says. Also a longtime Beatles fan, he saw the band in Glasgow in 1964. "It was a memory to treasure."

The film will also explore the "multigenerational quality" of Beatles fandom, according to Howard. "I hope we find some of that in the footage," he says. "We may have a shot of a boy or a girl very early in their life at a concert, and then we may be able to find them today and talk to them, and talk to their grandchildren and see what their relationship is with the Beatles, and understand how multiple generations find tremendous value and relevance in their music."

The documentary is scheduled for a tentative late-2015 release, and Howard says he is eager to begin interviewing McCartney and Starr. Turns out, he has a history with his heroes; half of the band met him on the set of his hit 1970s sitcom Happy Days. "We got word that John Lennon wanted to come by and bring his son [Julian], and he was a big Fonzie fan. I managed to sneak in a picture," he recalls. "He was graciously cool, but mostly it was for his kid, which we all really appreciated."

Howard adds, chuckling, "A year or so later, Ringo and Keith Moon wandered by. I don't know what they were doing in the lot, and I'm not even sure they knew where they were, but they seemed happy to be there."

Source: Read more: http://www.rollingstone.com/music/news/ron-howard-directing-new-beatles-doc-focusing-on-bands-early-years-20140716#ixzz37w28bbfe
Follow us: @rollingstone on Twitter | RollingStone on Facebook

LOS ANGELES/LONDON — George Martin, known as "the fifth Beatle" for his work in shaping the band that became one of the world's most influential music forces, has died at the age of 90.




He was considered the most successful music producer ever, cited in the Guinness Book of Records for having more than 50 No. 1 hit records over five decades in the United States and Britain alone.

He helped score, arrange, and produce many of the band's biggest hits, including "I Wanna Hold Your Hand,""A Day in the Life", “Yesterday”, "Eleanor Rigby" and "Love Me Do".

"I’m so sad to hear the news of the passing of dear George Martin," Beatle Paul McCartney said in a statement on Wednesday.

"If anyone earned the title of the fifth Beatle it was George."

A statement from Martin's family confirmed he had died peacefully at his home on Tuesday evening.

Earlier, Ringo Starr, the Beatles' drummer, had announced his death on Twitter: "God bless George Martin peace and love to Judy and his family... George will be missed."

Starr followed the message by posting a black and white photo of the Fab Four with Martin, saying "Thank you for all your love and kindness George."

Martin served as producer, collaborator and mentor to Beatles John Lennon, George Harrison, McCartney and Starr.

Lennon was shot dead in New York in 1980. Harrison died of cancer in 2001.

Tributes from the music world poured in on Twitter. "RIP to my musical brother George Martin. We were friends since 1964, & I am so thankful 4 that gift," said American music producer Quincy Jones.

Lenny Kravitz said: "The legends are really going home!" Boy George said: "George Martin. Gentleman and legend", while Mark Ronson said Martin was "the greatest British record producer of all time."




Britain's Prime Minister David Cameron said on Twitter: "George Martin was a giant of music - working with the Fab Four to create the world's most enduring pop music."

"YESTERDAY"

During his seven-decade career in the music industry, Martin produced almost all of the Beatles' recordings and also worked with Gerry & the Pacemakers, Shirley Bassey, Cilla Black, Jeff Beck, America, Cheap Trick and other acts.

Martin started work at Abbey Road Studios in 1950 producing records for EMI's Parlophone label.

He was noted for his comedy recordings with the likes of Peter Sellers, Spike Milligan and Beyond the Fringe and got his first Number 1 with The Temperance Seven in 1961. He signed The Beatles in 1962

The young band members were rough around the edges, but Martin saw their commercial promise and with them helped revolutionize the art of popular music recording.

His 1979 autobiography, "All You Need Is Ears", chronicles his discovery of the Beatles and their creative process.

Martin was knighted in 1996. In 2006, working with his son, Giles Martin, he helped develop the Beatles-inspired Cirque du Soleil show "Love" in Las Vegas, which went on to reap his two most recent Grammys.

(Reporting by Victoria Cavaliere in Los Angeles and James Davey in London, Editing by Ralph Boulton)

Source: http://www.nytimes.com/reuters/2016/03/09/arts/09reuters-people-georgemartin.html?_r=0

I had the pleasure of listening to the newly released Beatles Minus One 3CD collection. It was released in conjunction with the newly remastered Beatles One sets. This is an amazing collection of remixes and remasters from the Beatles outtakes library. You get to hear songs in a new light with side tracks brought to the front. And vocals stripped of extra backing tracks. Below is more information on this amazing set. Excellent work by the Beatles Remasters Workshop group. This has become my favorite new bootleg set. Highly recommended.

Here is something to keep you entertained over the Christmas holiday. It's a collection of single tracked vocal mixes of familiar tracks. Some of them are subtly different. On others the difference is dramatic and obvious. I hope you have fun spotting all the variations.

One of the reasons I love the early BBC radio recordings so much is because there were rarely overdubs. The Beatles had marvellous untrained raw voices and I always felt that much of that power and subtlety was lost when they applied blanket double tracking to everything. Here you can hear just how good they were as singers. John's voice in particular on some of these tracks from 1965 onwards is just gorgeous. Listen to him on Nowhere Man, In My Life and Across The Universe to name but a few. Of course Paul was equally great in a different way, and I think the final 60 seconds or so of Back In The USSR is one of the most exciting things I have ever heard.

Also included is a bonus volume of other remixes. They were remixed by me. I don't purport that these are "real" or "authentic" any more than anything else in this set. They are just a new way to enjoy familiar tracks, or to put right historical errors like the missing harmonica on From Me To You.





VOLUME 1

Don't Bother Me - after recording a live take The Beatles overdubbed some percussion including tambourine, claves and an Arabian drum. At the same time George double tracked his vocal, but here is the percussion version with a clean vocal.

I Want To Hold Your Hand - this is the raw take as performed live. After this they made an overdub onto the final track of the 4 track tape: John double tracked some of his vocals, George added some extra guitar riffs and presumably Paul and Ringo added the handclaps (see disc 3).

This Boy - this is another raw live take. The overdub consisted of John double tracking the middle section and George adding some extra guitar notes towards the end. According to Lewisohn there was also originally a guitar solo in the middle - probably after the line "till he's seen you cry".

A Hard Day's Night - this is the basic rhythm track with the live lead vocals muted. In their place is the overdub where John and Paul double tracked their voices; at the same time Ringo added bongos and cowbell and George a driving acoustic guitar part. A further overdub saw George add a 12-string electric guitar and George Martin piano.

I Should Have Known Better - presented without John's vocal double tracking.

If I Fell - presented without John and Paul's vocal double tracking. The second time around Paul stumbles over the lyric "was in vain" which, when combined with the subsequent vocal overdub, made it sound like his voice broke.

I'm Happy Just To Dance With You - this is the basic live take with George singing solo and John on guitar. For the overdub George double tracked his vocal while John and Paul added "ohhhh"s and Ringo percussion. George doesn't seem to have played any guitar on this song.

And I Love Her - presented without Paul's vocal double tracking.

Can't Buy Me Love - for the basic take the group played live but George's guitar work was erased and redone (the original solo can be heard faintly in the background). During an overdub Paul double tracked his voice and George double tracked his electric guitar solo. There was one further addition: 12 string electric guitar made after the return to England.

Anytime At All - a basic live take with George on 12 string once more and George Martin on piano. During an overdub John and Paul double tracked their vocals. Because of the way the lyrics crossed over, John left out different words on each vocal. Here he omits one word in the middle of every verse; in the other vocal he sings this word and then leaves a long pause before continuing in unison.

I'll Cry Instead - this is the basic live take. Onto this was overdubbed more guitar and vocals, plus tambourine.

Things We Said Today - the basic live take, after which Paul double tracked his voice adding harmonies and the others overdubbed piano, tambourine and some extra guitar.

I Feel Fine - presented without John, Paul and George's vocal double tracking.

Baby's In Black - this is the basic live take. Onto this John and Paul overdubbed two extra sets of vocals while George added a second lead guitar part including a solo.

Eight Days A Week - presented without John, Paul and George's vocal double tracking.

Leave My Kitten Alone - the group did a basic live take onto which they then overdubbed piano and tambourine and replaced George's lead guitar track (the old one can be heard in the background). This is how it sounded before John double-tracked his voice.

The Night Before - they seem to have recorded the rhythm track first with John on pianet and then added the vocals heard here. George played the solo twice, each time in a different octave. Paul then later added vocal double tracking.

I Need You - George not only double tracked his voice but also joined John and Paul to double track the background harmonies. Here there is only one set of vocals.

Ticket To Ride - during an overdub John double tracked his voice while Paul played a third electric guitar part and either George or Ringo rattled a tambourine. Here it is presented minus the overdub.

It's Only Love - this is how the basic performance would have sounded, with John on 12 string electric guitar similiar to the anthology take. On a subsequent overdub a vibrato electric guitar was added, and then a third guitar (Paul again?) along with tambourine and John's vocal double tracking. When George Martin remixed this song in the 1980s he did not fade down the second overdub towards the end as originally done, leading to some extra guitar and tambourine being heard.

I've Just Seen A Face - this performance harks back to the sound of their skiffle days with either Paul or John (or both) on acoustic guitar, George on 12 string acoustic and Ringo on brushes. An overdub added Paul's double tracking, marraccas and a second acoustic 12 string.

If You've Got Trouble - the basic take used the regular line up onto which Ringo added a vocal. During a different overdub Ringo double tracked his vocal, Paul and George chimed in with some "ohhh"s and George added a third guitar part for the solo. This mix uses some of the elements of that overdub but not Ringo's extra vocals. Rock on, anybody!

We Can Work It Out - the basic track consisted of drums, bass, acoustic guitar and tambourine. Paul and John added their vocals to this, and then a harmonium part was added (the one heard in this mix). The final overdub would have been the vocal double tracking by Paul with John simultaneously adding a second harmonium part (not heard here).

Day Tripper - as was common in this period the rhythm track was recorded first with the usual line up. The vocals heard here were then probably added and a subsequent overdub saw double tracked vocals, tambourine and (as was also common in this period) a third electric guitar added.

Nowhere Man - presented without John, Paul and George's vocal double tracking.

Think For Yourself - the basic track seems to have been drums, electric guitar and Paul on regular bass, to which Paul added "fuzz bass" (bass notes played on an electric guitar fed through a fuzz box) while the others played tambourine and maracca. John, Paul and George double tracked all of the vocals - only one batch is heard here.

The Word - one of the first times Paul was given a separate track for his bass. Presented here without John, Paul and George's vocal overdubbing.

Michelle - Paul seems to have played the guitar on this song in the same style as Yesterday and as he would later do on Blackbird and other songs. John's organ part is on the same track as the bass guitar. Paul did not double track his voice, but in the silent spaces in the track used for background harmonies he double tracked some of his guitar work. That final track is mixed out here. The ending seems to be authentic.


VOLUME 2

What Goes On - presented as a solo from Ringo without John and Paul's harmonies.

In My Life - presented without John, Paul and George's vocal double tracking.

Run For Your Life - presented without John and Paul's vocal double tracking.

Paperback Writer - a single tracked vocal from Paul. Also mixed out is the overdub where John and George added extra harmonies including "Frere Jacques". Paul played the aggressive electric guitar on this song, striving (if George is to be believed) to emulate Jeff Beck.

Eleanor Rigby - Paul seems to have been the only Beatle on this song. Only one of his vocal parts is heard here. Two more were overdubbed before the song was finished.

I'm Only Sleeping - John double tracked some of his vocals on this song while adding harmonies with Paul. The ADT effect was also later applied but is absent here.

Here There And Everywhere - presented without Paul's vocal double tracking. The harmonies by Paul, George and John are also single tracked.

And Your Bird Can Sing - presented without ADT on John's voice.

Dr Robert - presented without ADT on John's voice.

Penny Lane - Paul's voice is single tracked on the verses.

Strawberry Fields Forever - the first remake of this song (take 7), presented without John's vocal double tracking, but with the guitar and mellotron overdub not present on take 6.

Strawberry Fields Forever - the second remake (take 25), presented without John's vocal double tracking.

Sgt Pepper's Lonely Hearts Club Band - presented without John, Paul and George's vocal double tracking, and with the full "Billy Shears" ending.

All You Need Is Love - presented without John, Paul and George's vocal double tracking.

The Fool On The Hill - presented without Paul's vocal double tracking.

Your Mother Should Know - presented without Paul's vocal double tracking.

Across The Universe - presented without ADT on John's voice and guitar.

Back In The USSR - presented without John, Paul and George's vocal double tracking.

Come Together - presented without John's extra vocal parts.

Because - presented with single tracked vocals. On the record they were triple tracked.

Something - presented without George's vocal double tracking. However his own harmony parts are included.



BONUS VOLUME

From Me To You - a stereo equivalent of the mono single mix.

Thank You Girl - a stereo equivalent of the mono single mix.

The One After 909 - a stereo equivalent of the mono Anthology mix.

I Want To Hold Your Hand - the overdub during which they added various voices and instruments.

Komm Gib Mir Deine Hand - includes vocalisations on the right channel at the start not heard on Past Masters. When they recorded this song they took the basic rhythm track from I Want To Hold Your Hand and (because some elements were on a different track along with handclaps and vocals) George overdubbed some extra guitar and new handclaps were added. But the quality was poor for some reason. Here the left channel has been rebuilt in better sound.

Can't Buy Me Love - the other vocal and guitar solo (the first is heard on disc 1).

I Feel Fine - the other vocal overdub (the first is heard on disc 1). The guitar solo here is single tracked too rather than double tracked (George played it once on each vocal overdub).

Help! - the soundtrack to the "dart-less" clip with noticeably different vocals. This is taken from a 1966 German tv broadcast.

The Night Before - the other vocal overdub (the first is heard on disc 1).

That Means A Lot - a clearer and better balanced stereo mix than what has been heard before. On Sessions it is in faux stereo with copious reverb.

If You've Got Trouble - a different vocal from Ringo to that on disc 1.

Nowhere Man - the other vocal overdub (the first is heard on disc 1).

In My Life - the other vocal overdub (the first is heard on disc 2).

Yellow Submarine - a longer mix with the opening chant added (partially only), full sound effects, and the ending.

And Your Bird Can Sing - the original version (take 2) without the giggling. Remixed for better balance and stereo placement.

For No One - backing track.

Tomorrow Never Knows - with the guitar solo forwards rather than backwards.

Penny Lane - highlighting the myriad of small overdubs to this song.

Strawberry Fields Forever - a complete edit of take 25. The first verse is taken from an early mono mix. After this was made John apparently re-recorded his vocals, but never got around to finishing them, leaving the first verse blank.

Penny Lane - the stereo mix augmented with the trumpet flourish originally heard only on the advance promo.

Sgt Peppers - the complete track sans audience applause and with the original ending.

A Day In The Life - sans orchestra and with the unused "Ommmmmm" ending.

I Am The Walrus - complete stereo mix.

Obladi Oblada - the original version in a clear stereo mix. On Sessions it is in faux stereo with heavy reverb, ADT and limiting, giving the false impression of extra overdubs.

Revolution 1 - reconstruction of the version Lewisohn seems to describe in "Recording Sessions".

Old Brown Shoe - remixed to boost the very faint vocals. These were recorded (as was done with Not Guilty) by placing a microphone in the same room as a speaker through which George sang. As can be heard here, the results were slightly distorted, which is possibly why they were mixed so far down in volume.

More information is available here:
http://octaner.blogspot.com/2016/02/minus-one-disc-1.html
http://octaner.blogspot.com/2016/02/minus-one-disc-2.html
http://octaner.blogspot.com/2016/02/minus-one-disc-3.html

Now that Sony has taken over the half of Sony/ATV that Michael Jackson owned, can the Beatles get any of their copyrights back? The answer to that question is a qualified yes. It was reported Friday night that Paul McCartney has been working since last December to regain at least some of the music copyrights of Beatles songs that were purchased by Michael Jackson, according to a story from Billboard. “Paul calls the songs 'his babies,'” Beatles researcher Peter Hodgson, who is credited by author Mark Lewisohn in “Tune In: All These Years, Volume 1,” and helped Philip Norman with his Lennon and upcoming McCartney biographies, told Beatles Examiner.

You'll recall that back in the mid-1980s, Michael Jackson did an end run around Paul McCartney and Yoko Ono, who had discussed buying the songs, and bought them himself. “He should have just gone ahead and purchased them for £20 million in the early 80's when he was offered them by Sir Lew Grade,” who phoned him personally, Hodgson said.

The U.S. Copyright Act allows songwriters to apply to get their song copyrights back. In the case of songs written before 1978, it's after 56 years. In this case, the first Lennon-McCartney songs hit that mark in 2018, a scant two years away. But any actions taken by McCartney and Yoko Ono will only apply in America as Sony/ATV will still hold them in the rest of the world.

But none of this might not have been necessary if it hadn't been for a critical conversation Yoko Ono reportedly had with Jackson's lawyer, John Branca, who phoned her to ask if she would be purchasing the Beatles songs which were up for sale at the time. According to an excerpt of the book “Michael Jackson Inc.: The Rise, Fall and Rebirth of a Billion Dollar Empire” that is on the Forbes magazine website, Ono, a friend of Jackson's as was McCartney, told Branca they weren't bidding on it.

“No?,” the book quotes Branca. “No, no, if we had bought it, then we’d have to deal with Paul,” Ono reportedly said, and then asked why he wanted to know. “Because Michael’s interested,” Branca said. “Oh, that would be wonderful in the hands of Michael rather than some big corporation,” she reportedly told him. The author said he asked Ono about the conversation some 30 years later and she said she didn't have a “complex dialogue” with Jackson's people.

But even if McCartney gets some of the copyrights back, Hodgson says his efforts will only be partly successful. “Paul will only own half of any songs in the U.S., as Yoko cut a deal for Sony to keep John's half.“

Source: http://www.examiner.com/article/mccartney-trying-to-get-back-beatle-song-copyrights-to-reclaim-his-babies

Posted November 11 2015 — 5:04 PM EST

The Beatles released 1+ last week, a new collection that, most notably, includes dozens of rare music videos the band recorded over the years. But tucked away behind the two Blu-ray discs is a revamped version of 1, the 2000 compilation that features all 27 of the Fab Four’s No. 1 hits. Don’t ignore that disc. When the team behind 1+decided to polish up the video clips, it decided to also remix the songs on 1 — and tapped Giles Martin, the son of esteemed Beatles producer George Martin, to head up the job.



“They still sound like the songs you love,” Martin tells EW. “It’s just that if you go back to the original, you should prefer what we’ve done. When you hear them you feel closer to the band than you ever did before.”

The motivation behind the project is mostly technological. As Martin began to assist with fixing up the audio tracks for the 1+ video clips, he realized that his goal of making them “more immersive” should also apply to 1. While modern remastering efforts — most recently the 2009 reissuing of the band’s entire catalog — cleaned up the audio, none truly optimized the recording for modern, high-definition sound systems.

“You have to understand, the original Beatles mixes were designed for mono playback,” Martin explains. “The stereos that we all know and love were done very, very quickly. The band was never present when the stereos were made.”

Martin’s mission was to pretend the Beatles were in the room with him and tailor 1’s iconic hits for cutting-edge stereos — no easy task when you know the audience for your work will likely examine it with a fine-toothed comb. “My approach was to be respectful of everything,” the producer says. “I had sessions and sessions where I flipped between previously remastered stereos, the mono remasters, and the remixes we’ve done. I flip between everything and make sure I prefer what we’ve done.”

But honoring the past didn’t mean Martin refused to make necessary changes. Consider “Paperback Writer.” The band only recorded one and a half takes of the classic song — “I couldn’t believe it when I looked at the tapes,” Martin says — and the session’s spontaneity comes through on the recording. But Martin also heard a “layer of stuff” that’s not on the raw tapes. The problem mainly stemmed from an ill-conceived stereo mix he says was created just “for the sake of being stereo.” It isolated the band on one side, the bass on the other side, and the vocals in the center, even when the song “sounds better in our world coming out of two speakers.” By returning some of its elements to mono, Martin restored the “visceral feeling” that he thinks the band intended.

The fresh edition of 1 also improves the band’s famed recordings in ways the 2009 reissue project didn’t. “It’s vastly different,” Martin says. “The remasters went back to these final mix tapes and remastered them. They cleaned them up and then they EQ-ed them and released them. What we’re doing is remixing. We’re going not to the final mix, we’re creating our own mixes.”

That explains why Martin performed the same procedure on audio tracks from the Blu-ray discs that don’t appear on 1. He’s most proud of his work on “Strawberry Fields Forever,” which had much of its studio wizardry wiped away on previous stereo mixes. “It has this mellotron pulse that in the mono version goes under the vocal and sounds really cool,” Martin says. “It sounds much more intense to me, it sounds claustrophobic in a strange way. That’s what John would’ve wanted.” The original stereo mix isolated the mellotron pulse to the right-hand side, and couldn’t be repaired by the surface-level edits made in previous remastering projects.

“It has the feel of the mono, but it’s in stereo,” Martin says of the new version. “It sounds stronger, like it has a spine to it. Fans of the Beatles say you have to listen to the monos, but nobody’s going to do that. Only the fans are going to do that. I’m trying to create that attention to detail in a stereo format.”

But despite his studio efforts — which have created noticeable improvements on the originals — Martin understands that to a certain extent the endeavor is just icing on the cake. “The Beatles’ music makes people happy, and therefore it’s great to make sure it exists in the world. I don’t think these mixes change that in a big way, but you want to make sure you do the best job you can.”

Source: http://www.ew.com/article/2015/11/11/giles-martin-beatles-remasters

It’s been said the most frustrating of the Beatles’ studio albums is also the most frustrating when comparing mixes. The sheer volume and diversity of the music means that it will vary from song to song as to which version is better. “Dear Prudence” and “Happiness is a Warm Gun” sound absolutely perfect in mono, but the acoustic guitar in the background has much more impact on the stereo mix. The mono mix also features a version of “Helter Skelter” that is a minute shorter and far more cluttered than the stereo mix. But there are enough positives for each mix that it’s worth keeping both around.

The White Album is literally a toss up when it comes to mono vs stereo. This is the album that every fan should own both versions of – because literally, some songs sound better on mono, some sound better on stereo. For instance, I noticed on “The Continuing Story Of Bungalow Bill” the bass is a little too loud, and the guitar bits are more muffled on the mono version. On the flip side tho, the vocals sound much better. So a bit of a trade off. “Happiness Is A Warm Gun” always sounded strange on the stereo mix to me. Especially if you have headphones on. The mono delivers a much better sounding version of the song, and this is a good example of why you need to own both version. So to sum up it up: there are moments when the mono version is clearly better – where the drums smack with ferocity and the vocals sound beautiful. But on the same note, there are also times where the stereo mix breathes better – especially on “Helter Sketer”.

The Mono/Stereo Differences
Back In The U.S.S.R.
The airplane overdubs occur in different places on the mono and stereo versions. The Mono version has louder piano, a yell after the opening plane sound, and drumbeats under the closing plane sound. The Stereo version has extra guitar chords at the start of the solo, and shouts and piano during the guitar solo.

Dear Prudence
Stereo version has slightly more treble and fades to a lower volume at the end.

Glass Onion
The edit adds the end orchestral piece. Stereo [a] is lacking Paul’s added vocal “oh yeah” at the end of the break. Mono mix [c] has various sound effects, of which only the whistle after “fool on the hill” was used in the standard mix.

Ob-La-Di Ob-La-Da
The stereo version has hand-clapping during the intro, the mono version does not. On the mono mix, Paul’s vocals are not double-tracked as they sound to be on the stereo mix which gives the allusion of two or more Pauls singing at once.

While My Guitar Gently Weeps
The stereo version has some vocal sounds from George at the end, the mono version does not. The Clapton guitar remains loud in mono version after the solo break, not in the Stereo version. Near the end of the fadeout only the stereo [b] has “yeah yeah yeah”, even though it is a few second shorter than [a].

Blackbird
The bird sound effects are quite different between the stereo and the mono release.

Piggies
The pig sound effects are quite different between the stereo and the mono release. The guitar is louder in the mono version.

Don’t Pass Me By
The mono version is much faster than the stereo, and therefore is shorter. The violin sounds at the end are markedly different. Mono [a] runs faster, and it has more fiddle throughout the song, and different fiddle at the end. The fiddle at the end of stereo [b] seems to a repeat of a bit of the chorus. The edit added the intro. Stereo [c] has only work from 5 and 6 June without the fiddle or intro added in July. It’s at the speed of the stereo mix [b].

Why Don’t We Do It In The Road
The stereo version has hand-clapping during the intro, the mono version does not.

Sexy Sadie
The stereo version has two taps on the tambourine during the intro, the mono version only has one.

Helter Skelter
The stereo version has a fade-out/fade-in dummy ending with Ringo’s shout of “I’ve got blisters on my fingers”, the mono version does not ! … this makes the stereo version almost a minute longer. The basic song runs about 3:10 to a pause shortly after Paul’s distorted vocal, too close to the microphone. The Mono version then is edited into more of the same take, with sound effects noises, and fades at 3:36. Stereo version is edited instead to a different part of the take, fading out and then back in again, with another edit, ending finally at 4:29 after Ringo shouts “I’ve got blisters on my fingers!”. Is the distorted vocal “Can you hear me speaking– woo!” or “My baby is sleeping, ooh!, dreaming”?

Long, Long, Long
The stereo version is fine, but on the mono, George’s double-tracked vocal is embarrassingly out of synch.

Honey Pie
The stereo version has a shorter guitar solo than the mono version.

Revolution 9
Although the mono was made from the stereo, the opening lines are more clear in mono: “I would’ve gotten claret for you but I’ve realized I’ve forgotten all about it, George, I’m sorry. Will you forgive me?”. This is evidently a separate piece of tape added during mixing.

Everybody’s Got Something To Hide (Except Me and My Monkey)
The screaming after “come on” in the last verse is different in the Stereo and Mono versions.

Revolution [2]
The song was deliberately distorted during recording and mixing, so since the mono version sounds more distorted and compressed, it’s better! John’s guitar also sounds louder in mono version.

Yer Blues
The 2d generation tape is an edit of two takes, each of the two tapes being itself a mixdown from the original 4-track. The edit causes an abrupt transition at the end of the guitar solos. In stereo, traces of other vocal and guitar parts can be heard throughout the song in the left channel, including something shouted over parts of the vocal and what sounds like another different guitar solo. After the edit, the trace lead vocal suggests we are hearing the first part of the song from the other take. The edit in the mixes added the countdown intro, which is louder in mono. The Mono version is 11 seconds longer, long fade.

I Will
This started as 4 track and was copied to 8 track, so it’s 2d generation. The “bass” (vocal) starts later in mono [a], after the first verse. The stereo version has more prominent bongos.

Birthday
The last “daaaance” starts twice, maybe a double-track error or a leak from a guide vocal, as heard on stereo [b], but covered up by other sound in Mono version. The stereo version has extra vocals at the end of the second chorus.

Happiness Is A Warm Gun
The 2d generation master is an edit of (copies of) two takes with more material overdubbed. Mono [a] has tapping (organ) on the beat from the start until the drums come in, but it is soft and mixed out 4 beats earlier in [b]. In the “I need a fix” section in stereo [b], by error, although the first line was mixed out, the last “down” is just audible. Mono [a] has louder bass in the “I need a fix” section. Mono [a] has laughter near the very end, just before the last drumbeat, not heard in [b].

Honey Pie
Mono [a] has the full lead guitar break, slightly shortened in the Stereo Version.

Savoy Truffle
Mono [a] has sound effects during the instrumental break, and the lead guitar continues through the break into the refrain after it. The organ is missing from the last verse in the Mono Version.

Long Long Long
Doubletracking starts at the first “long” in stereo [a], the third “long” in [b], and sounds somewhat different thereafter. In mono [b] the rhythm guitar is softer but the lead guitar is louder, especially in the later part of the song.

I’m So Tired
Paul’s harmony at the first “You’d say” is louder in mono [a]. The muttering after the song is part of this recording.

Verdict: Toss Up! (This is the definitive album where listeners should own both the mono and the stereo version of it. Some songs sound better on mono and vice versa).

Conclusion: Chances are that you are wondering what box set is “right for you”. The mono box set entices you because purists will always say that mono “is how the Beatles always intended” them to be heard. Then there is the fact that the mono box set is “limited”. However, we found that the Stereo far outperformed the Mono versions. There were only a couple albums that we could see ourselves arguing as being definitively better on mono. Taking all that into consideration, it’s hard to justify paying $40-60 more for a box set that not only has less content (it doesn’t include Abbey Road, Let It Be, Yellow Submarine, or the DVD documentaries), but overall doesn’t sound as good as the Stereo versions. It is true that mono was originally how most of these album were recorded. But they never sounded better then they do now with the Stereo remasters that will have you listening to the Beatles like you have never before.

There are many differences between the Stereo and Mono versions of The White Album. (The Mono mix of the White Album was only available in Great Britain, it was never released in mono in the US.) The mono version of the song Ob-La-Di, Ob-La-Da is missing the hand clapping that can be heard in all other mixes of the song. Why Don’t We Do It In The Road?, like the Mono version of Ob-La-Di, Ob-La-Da is missing the hand clapping at the beginning of the song.




What’s a Variation, and Why Do We Care?
One part of being a music fan is playing favorite recordings over and over. Like many people, I’ve found that I have memorized many small nuances of the performance on record. Sometimes, when listening to an old song on a new disk, I’ll detect a difference in what is otherwise a very familiar recording. There may be a voice or instrument in one version that is not in the other, for example. This is a variation. Just when people started noticing Beatles variations is lost in the mists of time, but by the end of the Beatles’ recording career as a group in 1970, lists of variations had become a perennial topic among some fans.

One’s credentials as a Beatles fan need not rest on whether one can recognize most of the variations. Plenty of genuine fans feel this is one of the most obsessive and boring topics imaginable, and would much rather discuss the meaning of the lyrics, the invention of the melody, or the relation of the song to the Beatles’ lives and times. But who cares about all that, eh? No no, that’s not what I mean…

The variations open the door a little bit into how the recordings were made and prepared for release. The differences tell us something about how the sound was fixed on tape and what the engineers did to make records out of them. At least, they tell us something if we care to ask how the variations happened.

Hasn’t this “been done”? Well you may ask. Beatles Variations Lists have certainly appeared before. One reason to compile a list is simply to collate all the previous work on this topic. When it was suggested I put together something about variations, though, I was dissatisfied at simply rehashing old lists. Aside from the copyright violations (not that it’s stopped writers of some of the books I’ve seen while researching this) it did seem a little boring as well. Nearly all of them are just lists.

There are two reasons I’ve done this. Firstly- Collating existing lists does not result in a good list. I found by listening that many of the variations were not well described. Although I decided to be nice and not make this a catalog of the failings of other sources, a few instances are so wildly wrong that I did mention them. There were times when I wondered whether the writers had even heard the record they were describing. The amount of mindless copying from one print source to another has to be seen to be believed. I found that I had to go listen for myself, and quiz people closely to be sure they heard what they said they did on rare disks I couldn’t get hold of.

Secondly- I wanted to understand why they vary. The only list that relates variations to what we know about the recording sessions is a series of articles by Steve Shorten in “The 910″, which was unfortunately limited by space to highlights. As Steve noted in his first article, the publication of Mark Lewisohn’s book “The Beatles Recording Sessions” in 1988 provided an important framework on which to base an improved listing of variations. For the first time, we had specific information about dates of recording (some of which had been known) and of mixing (none of which had been known, I think). This made it possible to look for variations based on how many times a song was mixed at EMI Abbey Road, instead of the hopeless method of listening to every record released in the world.

Not only is “The Beatles Recording Sessions” a goldmine of information, but Lewisohn lacked the space or inclination to apply his data to the problem of variations. He even calls some mixes unused based on nonappearance in England. Tom Bowers and I did some work on finding those in 1991, reported in the Usenet group rec.music.beatles. It became clear that most of the mixes had been used somewhere, and they accounted for some of the variations that had been spotted previously.

Mark’s excellent work also provides enough information to figure out just how the variants arose. Some of them, especially the earlier ones recorded in 2-track, are editing differences, while others are differences in how the multi-track master tapes were mixed down for record.

Let me emphasize that, with just a very few exceptions, the mono version of a Beatles song is not the stereo version combined into one channel. On the contrary, George Martin mixed for mono first in almost all cases and then did a stereo mix separately. Right here we have a reason for variations, since the same edits and mixing had to be done twice. In some cases there are two or more mono or stereo mixes, providing yet more chances for variations.

The mixes were supposed to sound the same, usually. However, his practice of making separate mono and stereo mixes shows that George Martin did care about how the record would sound in both finished forms, and he may have deliberately mixed some songs differently. Other times, small things are fixed in one mix and overlooked in another, or difficult editing may be done a little better in one of the attempts. George Martin and staff weren’t perfect. That they had problems mixing songs the way they wanted makes the recording process seem a little less mechanical to me.

Obviously the mono and stereo mixes of any song are different. One is mono and one is stereo! Besides that, careful comparison of the mono mix to the stereo mix played as mono would doubtless turn up some differences in emphasis. But what we’re really after here in a variations list is larger game: different edits, sound mixed out in one version, different stereo images, and so on– things that are really noticeable. Well, maybe I stretch the limits on “really noticeable” at times. Forget the ones that seem trivial to you.

Aside from the dubious contribution of Capitol Records USA, I’m not, mostly, listing atrocities performed outside EMI Abbey Road. They’re not genuine, just stupid mistakes mastering records– speed problems, premature fadeouts, defects in tapes, even editing– and the ever-popular mock stereo. Nobody around the Beatles authorized them. Even Capitol is included just out of parochial interest to me and to the large contingent of fans in the USA– although I could argue Capitol’s work is of more than local interest since some other affiliates such as Odeon (Germany) got masters from Capitol. Capitol certainly doesn’t begin and end the tampering stories– there’s that “Penny Lane” from Brazil with a line edited out for no known reason, a “Devil in her Heart” from Mexico with the very end faded off… but I digress. If you live outside the USA, I invite you to catalog your own country’s label’s lack of judgement.

My Favorite Album Of All Time
The White Album is my favorite album ever (by The Beatles or anyone else.) I love it because of all of the different styles of music on it. I love it because of all of the brilliant songs. I love it because of it’s imperfections (“Don’t Pass Me By” comes to mind.) And yes, I love “Revolution #9.”

The Last Beatles Album Mixed In Mono
For most of The Beatles career mono was the standard and the stereo mix was something that was done as an afterthought. The band (and the producers and engineers) worked to get the mono mix just perfect and then would throw together the stereo mix rather quickly, sometimes in a very experimental fashion (as stereo was still very new, people were trying things out to see what worked.) But by 1968 mono was getting phased out and The White Album was The Beatles final album mixed in mono. Their last three albums (Yellow Submarine,

Never Released In The US In Mono
In the US mono had already been phased out and so only the stereo mix of the The White Album was released in the US while in the UK both the mono and stereo versions were released.

Mono Mixes On CD For The First Time
On 9/9/9 (a cool reference to “Revolution #9″) the original mono mixes of The Beatles first 10 studio albums (through The White Album) will be released on mono on CD for the first time.

The White Album is the only one of those 10 albums that was never released in mono on vinyl in the US so it will really be the first release of this mix in the US ever (on any format.) For those of us who think this is the greatest album of all time (and I think there’s quite a few of us!) it’s very exciting to finally get to hear this mix.

The White Album in mono will not be available for individual purchase, instead it will be included as one of the 10 Beatles albums (all with original mono mixes) in the Beatles Mono Box Set

Source: http://www.thewhitealbumproject.com/the-album/mono-vs-stereo/

So much has been said and written about the Beatles -- and their story is so mythic in its sweep -- that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and introduced more innovations into popular music than any other rock band of the 20th century. Moreover, they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed a hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity but never losing their ability to communicate their increasingly sophisticated ideas to a mass audience. Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970.
The Beatles' only official live album was recorded over three nights at the Hollywood Bowl in Los Angeles, in 1964 and 1965. George Martin had originally wanted to record The Beatles' concerts at New York's Carnegie Hall on 12 February 1964, during their first US visit. Although Capitol Records agreed, he was denied permission by the American Federation of Musicians.

As the effects of Beatlemania became all pervasive, the label decided to release a live album to capitalise on The Beatles' US success. During their first full American tour Capitol agreed to record the group's concert at the Hollywood Bowl on 23 August 1964. George Martin was at the venue, working with Capitol Records' producer Voyle Gilmore on the recording. The concert was seen by 18,700 people.

    "George Martin made such a speech. It sounds like he changed it but I doubt it. There's not much he could do. It was recorded on three-track machines with half-inch tapes. The Hollywood Bowl has a pretty good stereo sound system so we plugged our mikes right in there. I didn't do an awful lot. There wasn't much we could do. They just played their usual show and we recorded it. It wasn't that bad. I kept thinking, 'Maybe we'll get permission to release the tapes.' So I took them back to the studio and worked on it a while. I worked on the applause, edited it down, made it play and EQd it quite a bit.  
The Beatles heard it and they all wanted tape copies. I had five or six copies made and sent over. That's where the bootlegs must have come from. We had a system at Capitol and we knew where all our copies were. The Beatles said they liked the tapes, that it sounded pretty good, that they were surprised but they still idn't want to release it.
I thought the first concert was a little better than the second. I don't know if I would have put them together like they did because doing it that way they have sacrificed an album. They really could have made two albums". [Voyle Gilmore 1977] 


The album
Although they had hoped the 1965 recordings would be better than the previous year's, Capitol decided that the quality was insufficient for release. The tapes remained in the record company vaults for several years, and in 1971 were given to Phil Spector to see if an album could be prepared. However, Spector's work came to nothing, and the tapes remained unreleased for several more years.

"Capitol called me a few months back and asked if I could help find the tapes in the library and, of course, I knew right where they were. They wanted to get permission to put them out and thought it would be useful if George Martin was involved, since he knew the boys and had made all their other records".  [Voyle Gilmore, 1977]


.

In the mid-1970s Capitol president Bhaskar Menon gave George Martin the tapes and asked him to compile an official live album. Although impressed with The Beatles' performances, he found the sound quality disappointing. Nonetheless, in January 1977 he began working with studio engineer Geoff Emerick to clean up the master tapes and assemble a set of songs for release.


    "Bhaskar Menon, the president of Capitol Records, is an old friend of mine. He mentioned these tapes to me and asked whether I would listen to them because capitol was thinking of releasing an album. My immediate reaction was, as far as I could remember, the original tapes had a rotten sound. So I said to Bhaskar, 'I don't think you've got anything here at all.'
    There have been an awful lot of bootleg recordings made of Beatles concerts around the world and they've been in wide circulation. But when I listened to the Hollywood Bowl tapes, I was amazed at the rawness and vitality of The Beatles' singing. So I told Bhaskar that I'd see if I could bring the tapes into line with today's recordings. I enlisted the technical expertise of Geoff Emerick and we transferred the recordings from three-track to 24-track tapes. The two tapes combined 22 songs and we whittled these down to 13. Some tracks had to be discarded because the music was obliterated by the screams." [George Martin]
The recordings were transferred to 24-track tapes to be edited, filtered and equalised. No redubbing of voices or instruments took place. Eventually an album was assembled consisting of recordings from all three Hollywood Bowl concerts.

Six songs were included from the 23 August 1964 concert tapes: Things We Said Today, Roll Over Beethoven, Boys, All My Loving, She Loves You and Long Tall Sally.

Five songs from 30 August 1965 appeared on The Beatles At The Hollywood Bowl: Twist And Shout, She's A Woman, Dizzy Miss Lizzy, Can't Buy Me Love and A Hard Day's Night. The album version of Dizzy Miss Lizzy was a composite edit incorporating parts of the 29 and 30 August performances.

Some of The Beatles' on-stage announcements were inconsistent when presented in album form. A Hard Day's Night and Help! are both referred to as their latest albums, owing to the different recording dates.  [extract from beatlesbible.com]
. 

.
Tracklisting
Side A
01 - Twist And Shout
02 - She's A Woman
03 - Dizzy Miss Lizzy
04 - Ticket To Ride
05 - Can't Buy Me Love
06 - Things We Said Today
07 - Roll Over Beethoven
Side B
08 - Boys
09 - A Hard Day's Night
10 - Help!
11 - All My Loving
12 - She Loves You
13 - Long Tall Sally

The Beatles were:
John Lennon: vocals, electric guitar, acoustic guitar
Paul McCartney: vocals, bass guitar
George Harrison: vocals, electric guitar, acoustic guitar
Ringo Starr: vocals, drums



http://rockonvinyl.blogspot.com/2013/06/the-beatles-live-at-hollywood-bowl-1977.html

The Beatles - Stars & Stripes - Live At The Hollywood Bowl
Bonus: Candlestick Park 1966 (Note this remaster was released back in 2010)




When the His Master’s Choice label announced that they were releasing remastered versions of the Hollywood Bowl tapes (along with the Candlestick Park 1966 tape recording by Tony Barrow), I seriously had my doubts and was full of skepticism. I kept thinking, do we really need another release of the Hollywood Bowl and Candlestick tapes? My own theory was that this time they could be issuing these concerts from a better source tape (possibly an Apple remastering that snuck out of the vaults?). I’ve been spending a few weeks listening to these CDs and thought they sound great, but they really couldn’t be much of an improvement than what has circulated on bootleg before. Boy was I wrong.

The Candlestick concert is from a small reel-to-reel tape recorder Tony Barrow placed in front of the stage as per the Beatles’ request. It documents their last public concert appearance before a paying crowd. The performance level is stepped up: They are probably giving their best performance of the 1966 tour knowing “This is it. No more tours”. Barrow’s tape is one of the best audience tapes due to the privileged location in front of the stage. Every version I’ve had of this tape always felt like it was further away from the stage than it seemed to have been recorded from. This remastered version brings you literally to the front of the stage. You feel the presence of the Beatles for the first time; as if you’re on the field. There is a power to the Beatles rock ‘n roll that is lacking from all other versions of this tape. The one mistake this label made was attempting to complete “Long Tall Sally” (which will be forever incomplete being the tape ran out during the performance)by grafting in a poor quality studio version of “Long Tall Sally” to complete the song. Why a studio version? If you’re going to fake it, at least use a poor quality live version in an attempt to give it a truer semblance of completion. In fact, why do it at all?

All available Hollywood Bowl shows (from the raw 3 track stereo tapes) are offered up on this set and they too are a major improvement. They sound like they are a generation up from what’s been released. These CDs also do play louder--but upon volume matching the older CDs (I used to a/b), the older discs strain to bring the same quality to my ears. Hearing Lennon open up with “Twist and Shout” from 8/30/65, shows you a rawness that these tapes bring you on this set. The older releases suffer in comparison. When Lennon vocally gives it his all here, you feel it. That doesn’t mean these 3 track tapes are a preferable mix. Having the drums in one channel lessens the punch of the recordings and makes using headphones difficult to enjoy. It plays much better though, out of your stereo speakers. That’s why for the ’64 show I prefer the unissued mono mix by Capitol (it’s much more powerful). Overall, I enjoy George Martin's stereo remixes for the 1977 Beatles Live At The Hollywood Bowl release. These raw stereo tapes from His Master’s Choice are an essential upgrade to your collection.

This set comes in a hardback book with excellent liner notes. You never expect less than than class, from His Master’s Choice. It comes highly recommended.




Read more: http://beatleforum.proboards.com/thread/1734#ixzz46Xuz8OnD



The Beatles - Stars & Stripes - Live At The Hollywood Bowl
Publisher: Remastered Workshop
Reference: RMW 570/571
Date: 2010


Pitch, phase and level corrected from HMC 010.

Disc 1
01. Intro
02. Twist And Shout
03. You Can't Do That
04. All My Loving
05. She Loves You
06. Things We Said Today
07. Roll Over Beethoven
08. Can't Buy Me Love
09. If I Fell
10. I Want To Hold Your Hand
11. Boys
12. A Hard Day's Night
13. Long Tall Sally
14. Intro
15. Twist And Shout
16. She's A Woman
17. I Feel Fine
18. Dizzy Miss Lizzie
19. Ticket To Ride
20. Everybody's Trying To Be My Baby
21. Can't Buy Me Love
22. Baby's In Black
23. I Wanna Be Your Man
24. A Hard Day's Night
25. Help!
26. I'm Down

Tracks 1-13: Live at the Hollywood Bowl, Los Angeles, CA - August 23, 1964
Tracks 14-26: Live at the Hollywood Bowl, Los Angeles, CA - August 30, 1965

Disc 2
01. Tuning
02. Twist And Shout
03. She's A Woman
04. I Feel Fine
05. Dizzy Miss Lizzie
06. Ticket To Ride
07. Everybody's Trying To Be My Baby
08. Can't Buy Me Love
09. Baby's In Black
10. I Wanna Be Your Man
11. A Hard Day's Night
12. Help!
13. I'm Down
14. Rock And Roll Music
15. She's A Woman
16. If I Needed Someone
17. Day Tripper
18. Baby's In Black
19. I Feel Fine
20. Yesterday
21. I Wanna Be Your Man
22. Nowhere Man
23. Paperback Writer
24. Long Tall Sally

Tracks 1-13: Live at the Hollywood Bowl, Los Angeles, CA - August 29, 1965
Tracks 14-24: Live at the Candlestick Park, San Francisco, CA - August 29, 1966



http://beatlebootleg.blogspot.com/2015/03/re-upload-live-at-hollywood-bowl-stars.html

Amid all the hoopla around the new "On Air - Live at the BBC Vol. 2" release, it may have gone unnoticed to the casual fan that along with this new album comes a revamped version of the original 1994 release of "Live at the BBC Vol. 1".
The first volume, like "Live At The Hollywood Bowl" before it, was no doubt issued to create a proper legitimate collection of these recordings that had been available to hard core collectors on the bootleg market for years. The recordings were cleaned up, edited and put out as a double CD set or vinyl LP, bearing the familiar Apple label. Collectors gobbled it all up: LP, CD, and both CD and vinyl EP's, along with all the various promo items that accompanied the release. Two years later Apple would take the same approach with the massive Anthology campaign, also, no doubt, aimed at rendering all previous bootleg versions of the material obsolete. Fast forward to 2014; 20 years on from the original BBC vol. 1 release, we have the new, improved, remastered version, available on it's own, or in a double slipcase pack along with the new Vol. 2 album. Is it any different? Here are some of the differences as I have observed.
The first and obvious thing one notices before even playing the album is the new packaging that conforms to all the new releases since 09-09-09, rather than the fat double jewel case that housed the original. NO plastic. That's a thumbs up, for me. It's slimmer, the booklet is of better quality and has a slightly different layout, but the liner notes and photos are essentially still the same.


The second thing one notices before listening, is the change from sepia tone to straight black and white on the monochrome images. I prefer it, but this is purely a matter of personal preference. To me, sepia tone is reminiscent of the Old West, not London in the swinging '60's.
Sonically. the sound on the new version has more "presence" than the original. The mids and highs are definitely more prominent, bringing the vocals, guitars, and Ringo's cymbals more to the fore. The downside of this is the audible presence of tape hiss on the new version. The original was much quieter, but sounded at times like it was recorded in a closet; very "dry".
With these recordings being in mono, these differences are subtle, and only noticeable when doing a back and forth simultaneous comparison, as I did. One would be hard pressed to hear any difference listening to one after the other in it's entirety. So you have to ask yourself, "do I need this?" (probably not, if you have the existing version); "do I want this?" (of course you do! It’s new Beatles product).
So now, since 09-09-09, we have had repackaged versions of the entire core catalogue, both red and blue compilation collections, the Beatles 1 collection, Yellow Submarine Songtrack, and now Live At The BBC. That leaves the three Anthology volumes, "Let It Be - Naked", and both versions of "Love" that have yet to receive the CD repackaging treatment, so start saving, collectors.

The new 2013 release alongside its original 1994 release

=====================================




The Beatles confirm tracklisting for On Air – Live At The BBC Volume 2








The Beatles have confirmed details of their anticipated On Air – Live At The BBC Volume 2 collection. The album will be released Monday, November 11 in 2CD and 180-gram vinyl packages with a 48-page booklet. On Air’s 63 tracks include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band’s members and their BBC radio hosts.

The Beatles have confirmed details of their anticipated On Air – Live At The BBC Volume 2 collection.

The album will be released Monday, November 11 in 2CD and 180-gram vinyl packages with a 48-page booklet. On Air’s 63 tracks include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band’s members and their BBC radio hosts.

Paul McCartney said, “There’s a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.”

The full tracklisting for On Air – Live At The BBC Volume 2 is:

CD ONE
And Here We Are Again (Speech)
WORDS OF LOVE
How About It, Gorgeous? (Speech)
DO YOU WANT TO KNOW A SECRET
LUCILLE
Hey, Paul… (Speech)
ANNA (GO TO HIM)
Hello! (Speech)
PLEASE PLEASE ME
MISERY
I’M TALKING ABOUT YOU
A Real Treat (Speech)
BOYS
Absolutely Fab (Speech)
CHAINS
ASK ME WHY
TILL THERE WAS YOU
LEND ME YOUR COMB
Lower 5E (Speech)
THE HIPPY HIPPY SHAKE
ROLL OVER BEETHOVEN
THERE’S A PLACE
Bumper Bundle (Speech)
P.S. I LOVE YOU
BEAUTIFUL DREAMER
DEVIL IN HER HEART
The 49 Weeks (Speech)
SURE TO FALL (IN LOVE WITH YOU)
Never Mind, Eh? (Speech)
TWIST AND SHOUT
Bye, Bye (speech)
John – Pop Profile (Speech)
George – Pop Profile (Speech)

CD TWO
I SAW HER STANDING THERE
GLAD ALL OVER
Lift Lid Again (Speech)
I’LL GET YOU
SHE LOVES YOU
MEMPHIS, TENNESSEE
HAPPY BIRTHDAY DEAR SATURDAY CLUB
Now Hush, Hush (Speech)
FROM ME TO YOU
MONEY (THAT’S WHAT I WANT)
I WANT TO HOLD YOUR HAND
Brian Bathtubes (Speech)
THIS BOY
If I Wasn’t In America (Speech)
I GOT A WOMAN
LONG TALL SALLY
IF I FELL
A Hard Job Writing Them (Speech)
AND I LOVE HER
Oh, Can’t We? Yes We Can (Speech)
YOU CAN’T DO THAT
HONEY DON’T
I’LL FOLLOW THE SUN
Green With Black Shutters (Speech)
KANSAS CITY/HEY-HEY-HEY-HEY!
That’s What We’re Here For (Speech)
I FEEL FINE (STUDIO OUTTAKE)
Paul – Pop Profile (Speech)
Ringo – Pop Profile (Speech)


The Beatles – On Air – Live at the BBC Volume 2



The return of the Fab Four at the Beeb and live – now with added Beatle wit…

You’ll be wanting to know about the music, of course. We’ll get to that. But first it’s necessary to identify and celebrate the work of the secret hero of the second selection of recordings made by the Beatles at the BBC, released almost 20 years after its predecessor, which represented the first legitimate issue of the material taped for the old Light Programme between 1962 and 1965.

That hero is the great Brian Matthew, still functioning with seemingly effortless geniality every Saturday morning on Radio 2 at the age of 85, whose interviews with all four Beatles – John and George in November 1965, Paul and Ringo in May 1966, with about eight minutes devoted to each — were transferred to seven-inch 33rpm discs by the BBC’s transcription service and sent out for use by stations around the world as part of a series titled Pop Profiles.

A sympathetic and amused but never sycophantic interviewer, familiar to the Fabs from their many encounters during sessions for Saturday Club and Easy Beat, Matthew caught them at a wonderful moment, between the release of Rubber Soul and the sessions for Revolver. They had the big houses and the Rolls Royces, but the edge of their curiosity about the world remained sharp as they began to accelerate away from their origins.

John is as forthcoming and unguarded as he remained to the end of his life. “It’s in what they call the stockbroker area,” he says with an air of mild embarrassment when Matthew asks him about the house in which he lives with Cynthia and the young Julian. “I didn’t care where it was as long as it was somewhere quite quiet. I wanted to live in London but I wouldn’t risk it until it’s really quietened down. I only realise how big it is when I go home again to Liverpool or visit relations.”

It doesn’t take much effort to detect prophetic undertones in these exchanges. When Matthew asks George about his reputation as “the silent Beatle”, Harrison tells him: “I got fed up before the others with all these questions like, ‘What colour teeth have you got?’ … I shut up until someone asks me something worth answering.”

Paul talks about discovering other kinds of music. “Indian music,” he says. “Whenever you got on an Indian channel, fiddling through the radio, I always used to just turn it off. But George got this big Indian kick. He’s dead keen on it, you know? We’ve been round to his house a couple of times and he plays it to you. It’s so boring! No, no… it’s good, you hear millions of things that I never realised were in it.” He’s asked what he thinks he might do when the group ceases to exist. “Like the others,” he says, “I don’t like doing nothing.”

He can’t have meant Ringo. What does the drummer do when they’re not working? “Sit around most of the time. Don’t do anything. Play records.” He gets bored on long holidays. “I like to sit at home doing nothing. Because if you do want to do something, it’s right there.”

Volume Two contains more talk than its predecessor, and by linking the 39 songs on these two discs with snippets of dialogue from Saturday Club, Easy Beat, From Us to You, (the original) Top Gear and Pop Go The Beatles, the compilers attempt to replicate the mood and flow of those shows, showing us how the group broke through the barriers of formality hitherto erected between performers and audience. They send up the two posh-voiced professional actors, Lee Peters and Rodney Burke, who present the early programmes, while establishing a different and more relaxed rapport with Matthew.

“What happened to our request, Brian Bathtubes?” Lennon inquires while reading out letters from fans. “Yeah, we sent it in about two weeks ago and you haven’t played it,” says George. “Have you done?” says Matthew. When John and Paul play a dead bat to the DJ’s inquiry about their rumoured plans to write a musical, George breaks in to announce that he and Ringo are planning to paint Buckingham Palace. What colour? “Green, with black shutters.” Not exactly the last word in wit, but they weren’t playing by the conventional rules of decorum.

And the stuff between the jokes? The earliest piece of music here is a version of “Misery” recorded in Manchester in March 1962, three months ahead of their first session at Abbey Road. It’s from a weekly programme called Teenagers’ Turn – Here We Go, an appearance that followed a successful BBC audition. Interestingly, the performance is already greeted with squeals from the live audience at the Playhouse Theatre.

Mostly taped at the height of Beatlemania, these straightforward, unvarnished performances are what they would have sounded like if you could have heard them beneath the screaming. This is the unit formed by countless sessions in the Star Club and the Cavern, hacking their way through the cover versions – “Kansas City”, “Memphis, Tennessee”, “Long Tall Sally”, “Talkin’ About You” — that formed the core repertoire of working groups at the time, as well as a handful of selections that show the kind of music fans they were: three items learnt from Carl Perkins’ records (“Lend Me Your Comb”, “Sure to Fall” and “Glad All Over”) plus a pair of girl-group songs, “Devil In Her Heart” and “Boys”, unearthed on the B-sides of singles by the Donays and the Shirelles. Their own B-sides are also among the highlights, including “PS I Love You”, “I’ll Get You”, “You Can’t Do That” and “This Boy”.

The sound in the various BBC theatres and studios isn’t of the quality achieved under EMI’s auspices, but on some of the rockers, like “Hippy Hippy Shake” and “Twist and Shout”, Paul’s bass guitar and Ringo’s kick drum come through with unusual clarity and oomph. Unlike their Abbey Road counterparts, the BBC’s engineers could set their levels without worrying about whether a sudden spike in the low frequencies would make the stylus jump out of the groove.
Richard Williams

Q&A
Kevin Howlett is a radio producer and author who has written three books about the Beatles at the BBC and, with Mike Heatley, researched and compiled On the Air — Live at the BBC Volume Two

What were the sources of this material for this volume?
When I did the original research for The Beatles at the Beeb on Radio 1 many years ago, I discovered that the official archive in Broadcasting House contained just one of the 53 programmes they’d recorded. So I had to look in other places. Fortunately some of the sessions from 1964 and 1965 had been preserved on transcription discs, sent abroad as part of the BBC’s mission to disseminate British culture to the Empire. Others are from the collection of Bernie Andrews, who produced Saturday Club and Top Gear. And some songs have come from people who taped them off the radio.

Have audio restoration techniques evolved greatly since the first volume, almost 20 years ago?
They really have. The object is to make the tracks sound as good as possible, so we repaired drop-outs by inserting notes and generally ironing out the tape blemishes. We’ve also remastered the first volume and you’ll hear a great improvement in sound quality there, too.

Are you envisaging a Volume Three in another 20 years’ time?
I don’t think so. I think these two volumes have all the essentials. But maybe someone, somewhere will pop up saying, “Oh, yes, I taped that, and I’ve got it in the attic.”
INTERVIEW: RICHARD WILLIAMS



-----

Tracklist Hide Credits

	Live At The BBC
1-1	Beatle Greetings (Speech) Presenter – Tony Hall (4)Producer – John Fawcett Wilson	0:14
1-2	From Us To You (Opening) Producer – Bryant MarriottWritten-By – Lennon-McCartney	0:30
1-3	Riding On A Bus (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	0:55
1-4	I Got A Woman Producer – Terry HeneberyWritten-By – Charles*, Richard*	2:48
1-5	Too Much Monkey Business Producer – Ian Grant (3)Written-By – Berry*	2:08
1-6	Keep Your Hands Off My Baby Producer – Jimmy Grant (4)Written-By – Goffin-King*	2:31
1-7	I'll Be On My Way Producer – Bryant MarriottWritten-By – Lennon-McCartney	1:58
1-8	Young Blood Producer – Terry HeneberyWritten-By – Pomus*, Leiber-Stoller*	1:56
1-9	A Shot Of Rhythm And Blues Producer – Ian Grant (3)Written-By – Thompson*	2:16
1-10	Sure To Fall (In Love With You) Producer – Terry HeneberyWritten-By – Perkins*, Claunch*, Cantrell*	2:08
1-11	Some Other Guy Producer – Ron BelchierWritten-By – Leiber-Stoller*, Barrett*	2:01
1-12	Thank You Girl Producer – Ron BelchierWritten-By – Lennon-McCartney	2:05
1-13	Sha La La La La! (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:28
1-14	Baby It's You Producer – Terry HeneberyWritten-By – Williams*, Bacharach*, David*	2:44
1-15	That's All Right (Mama) Producer – Terry HeneberyWritten-By – Crudup*	2:56
1-16	Carol Producer – Terry HeneberyWritten-By – Berry*	2:36
1-17	What Is It, George? (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:31
1-18	Soldier Of Love Producer – Terry HeneberyWritten-By – Cason*, Moon*	1:59
1-19	A Little Rhyme (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:26
1-20	Clarabella Producer – Terry HeneberyWritten-By – Pingatore*	2:40
1-21	I'm Gonna Sit Right Down And Cry (Over You) Producer – Terry HeneberyWritten-By – Biggs*, Thomas*	2:02
1-22	Crying, Waiting, Hoping Producer – Terry HeneberyWritten-By – Holly*	2:11
1-23	Dear Wack! (Speech) Presenter – Brian MatthewProducer – Bernie Andrews, Jimmy Grant (4)	0:43
1-24	You Really Got A Hold On Me Producer – Bernie Andrews, Jimmy Grant (4)Written-By – Robinson*	2:38
1-25	To Know Her Is To Love Her Producer – Terry HeneberyWritten-By – Spector*	2:51
1-26	A Taste Of Honey Producer – Terry HeneberyWritten-By – Scott*, Marlow*	1:59
1-27	Long Tall Sally Producer – Terry HeneberyWritten-By – Johnson*, Penniman*, Blackwell*	1:54
1-28	I Saw Her Standing There Producer – Ron BelchierWritten-By – Lennon-McCartney	2:35
1-29	The Honeymoon Song Producer – Terry HeneberyWritten-By – Theodorakis*, Sansom*	1:40
1-30	Johnny B Goode Producer – Bernie Andrews, Jimmy Grant (4)Written-By – Berry*	2:51
1-31	Memphis, Tennessee Producer – Terry HeneberyWritten-By – Berry*	2:16
1-32	Lucille Producer – Bernie Andrews, Jimmy Grant (4)Written-By – Collins*, Penniman*	1:50
1-33	Can't Buy Me Love Producer – Bryant MarriottWritten-By – Lennon-McCartney	2:08
1-34	From Fluff To You (Speech) Presenter – Alan 'Fluff' FreemanProducer – Bryant Marriott	0:28
1-35	Till There Was You Producer – Bryant MarriottWritten-By – Willson*	2:17
2-1	Crinsk Dee Night (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	1:09
2-2	A Hard Day's Night Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:44
2-3	Ringo? Yep! (Speech) Presenter – Alan Freeman*Producer – Bryant Marriott	0:14
2-4	I Wanna Be Your Man Producer – Bryant MarriottWritten-By – Lennon-McCartney	2:10
2-5	Just A Rumour (Speech) Presenter – Alan Freeman*Producer – Bryant Marriott	0:20
2-6	Roll Over Beethoven Producer – Bryant MarriottWritten-By – Berry*	2:17
2-7	All My Loving Producer – Bryant MarriottWritten-By – Lennon-McCartney	2:07
2-8	Things We Said Today Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:18
2-9	She's A Woman Producer – Bernie AndrewsWritten-By – Lennon-McCartney	3:19
2-10	Sweet Little Sixteen Producer – Terry HeneberyWritten-By – Berry*	2:21
2-11	1822! (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:10
2-12	Lonesome Tears In My Eyes Producer – Terry HeneberyWritten-By – D. Burnette*, Jerome*, J. Burnette*, Burlison*	2:36
2-13	Nothin' Shakin' Producer – Terry HeneberyWritten-By – Calacrai*, Lampert*, Fontaine*, Gluck*	3:00
2-14	The Hippy Hippy Shake Producer – Terry HeneberyWritten-By – Romero*	1:50
2-15	Glad All Over Producer – Terry HeneberyWritten-By – Schroeder*, Bennett-Tepper*	1:53
2-16	I Just Don't Understand Producer – Terry HeneberyWritten-By – Westberry*, Wilkin*	2:48
2-17	So How Come (No One Loves Me) Producer – Terry HeneberyWritten-By – F & B Bryant*	1:55
2-18	I Feel Fine Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:16
2-19	I'm A Loser Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:33
2-20	Everybody's Trying To Be My Baby Producer – Bernie AndrewsWritten-By – Perkins*	2:23
2-21	Rock And Roll Music Producer – Brian Willey, Jimmy Grant (4)Written-By – Berry*	2:02
2-22	Ticket To Ride Producer – Keith BatesonWritten-By – Lennon-McCartney	2:59
2-23	Dizzy Miss Lizzy Producer – Keith BatesonWritten-By – Williams*	2:44
2-24	Kansas City/Hey-Hey-Hey-Hey! Producer – Terry HeneberyWritten-By [Hey-Hey-Hey-Hey!] – Penniman*Written-By [Kansas City] – Leiber-Stoller*	2:39
2-25	Set Fire To That Lot! (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:28
2-26	Matchbox Producer – Terry HeneberyWritten-By – Perkins*	1:58
2-27	I Forgot To Remember To Forget Producer – Bryant MarriottWritten-By – Feathers*, Kesler*	2:06
2-28	Love These Goon Shows! (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:28
2-29	I Got To Find My Baby Producer – Terry HeneberyWritten-By – Berry*	1:58
2-30	Ooh! My Soul Producer – Ian Grant (3)Written-By – Penniman*	1:38
2-31	Ooh! My Arms (Speech) Presenter – Rodney BurkeProducer – Ian Grant (3)	0:36
2-32	Don't Ever Change Producer – Ian Grant (3)Written-By – Goffin-King*	2:05
2-33	Slow Down Producer – Terry HeneberyWritten-By – Williams*	2:38
2-34	Honey Don't Producer – Ian Grant (3)Written-By – Perkins*	2:13
2-35	Love Me Do Producer – Terry HeneberyWritten-By – Lennon-McCartney	2:29
2-36	From Us To You (Closing) Producer – Bryant MarriottWritten-By – Lennon-McCartney	0:38
	On Air - Live At The BBC Volume 2
3-1	And Here We Are Again (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:15
3-2	Words Of Love Producer – Terry HeneberyWritten-By – Holly*	1:56
3-3	How About It, Gorgeous? (Speech) Presenter – Rodney BurkeProducer – Terry Henebery	0:37
3-4	Do You Want To Know A Secret Producer – Terry HeneberyWritten-By – Lennon-McCartney	1:48
3-5	Lucille Producer – Ian Grant (3)Written-By – Collins*, Penniman*	2:29
3-6	Hey, Paul... (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:21
3-7	Anna (Go To Him) Producer – Ian Grant (3)Written-By – Alexander*	2:50
3-8	Hello! (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:19
3-9	Please Please Me Producer – Ian Grant (3)Written-By – Lennon-McCartney	1:55
3-10	Misery Producer – Peter PilbeamWritten-By – Lennon-McCartney	1:50
3-11	I'm Talking About You Producer – Bernie Andrews, Jimmy Grant (4)Written-By – Berry*	1:52
3-12	A Real Treat (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:37
3-13	Boys Producer – Terry HeneberyWritten-By – Dixon*, Farrell*	2:29
3-14	Absolutely Fab (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:27
3-15	Chains Producer – Terry HeneberyWritten-By – Goffin-King*	2:15
3-16	Ask Me Why Producer – Ian Grant (3)Written-By – Lennon-McCartney	1:54
3-17	Till There Was You Producer – Terry HeneberyWritten-By – Willson*	2:16
3-18	Lend Me Your Comb Producer – Terry HeneberyWritten-By – Weisman*, Wise*, Twomey*	1:47
3-19	Lower 5E (Speech) Presenter – Rodney BurkeProducer – Ian Grant (3)	0:23
3-20	The Hippy Hippy Shake Producer – Ian Grant (3)Written-By – Romero*	1:46
3-21	Roll Over Beethoven Producer – Ian Grant (3)Written-By – Berry*	2:22
3-22	There's A Place Producer – Ian Grant (3)Written-By – Lennon-McCartney	1:49
3-23	Bumper Bundle (Speech) Presenter – Lee Peters (2)Producer – Terry Henebery	0:49
3-24	P. S. I Love You Producer – Terry HeneberyWritten-By – Lennon-McCartney	1:59
3-25	Please Mister Postman Producer – Terry HeneberyWritten-By – Holland*, Gorman*, Dobbins*, Bateman*, Garrett*	2:16
3-26	Beautiful Dreamer Producer – Jimmy Grant (4)Written-By [New Words And Music] – Goffin*, Keller*Written-By [Original] – Foster*	1:46
3-27	Devil In Her Heart Producer – Ian Grant (3)Written-By – Drapkin*	2:22
3-28	The 49 Weeks (Speech) Presenter – Rodney BurkeProducer – Ian Grant (3)	0:17
3-29	Sure To Fall (In Love With You) Producer – Ian Grant (3)Written-By – Perkins*, Claunch*, Cantrell*	2:21
3-30	Never Mind, Eh? (Speech) Presenter – Rodney BurkeProducer – Ian Grant (3)	0:34
3-31	Twist And Shout Producer – Terry HeneberyWritten-By – Russell*, Medley*	2:25
3-32	Bye, Bye (Speech) Presenter – Rodney BurkeProducer – Ian Grant (3)	0:24
	Bonus Interview Tracks
3-33	John - Pop Profile Interviewer – Brian MatthewProducer – Pete Dauncey	8:22
3-34	George - Pop Profile Interviewer – Brian MatthewProducer – Pete Dauncey	8:06
4-1	I Saw Her Standing There Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:36
4-2	Glad All Over Producer – Bernie AndrewsWritten-By – Schroeder*, Bennett-Tepper*	1:52
4-3	Lift Lid Again (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	0:37
4-4	I'll Get You Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:02
4-5	She Loves You Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:15
4-6	Memphis, Tennessee Producer – Bernie AndrewsWritten-By – Berry*	2:16
4-7	Happy Birthday Dear Saturday Club Producer – Bernie AndrewsWritten-By – Hill*, Hill*	0:34
4-8	Now Hush, Hush (Speech) Presenter – Brian MatthewProducer – Ron Belchier	0:24
4-9	From Me To You Producer – Ron BelchierWritten-By – Lennon-McCartney	1:51
4-10	Money (That's What I Want) Producer – Bryant MarriottWritten-By – Gordy*, Bradford*	2:43
4-11	I Want To Hold Your Hand Producer – Bryant MarriottWritten-By – Lennon-McCartney	2:23
4-12	Brian Bathtubes (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	0:59
4-13	This Boy Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:16
4-14	If I Wasn't In America (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	0:45
4-15	I Got A Woman Producer – Bernie AndrewsWritten-By – Charles*, Richard*	2:36
4-16	Long Tall Sally Producer – Bernie AndrewsWritten-By – Johnson*, Penniman*, Blackwell*	1:58
4-17	If I Fell Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:09
4-18	A Hard Job Writing Them (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	1:19
4-19	And I Love Her Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:20
4-20	Oh, Can't We? Yes We Can (Speech) Presenter – Alan 'Fluff' FreemanProducer – Bryant Marriott	0:20
4-21	You Can't Do That Producer – Bernie AndrewsWritten-By – Lennon-McCartney	2:32
4-22	Honey Don't Producer – Bernie AndrewsWritten-By – Perkins*	2:24
4-23	I'll Follow The Sun Producer – Bernie AndrewsWritten-By – Lennon-McCartney	1:51
4-24	Green With Black Shutters (Speech) Presenter – Brian MatthewProducer – Pete Dauncey	0:56
4-25	Kansas City/Hey-Hey-Hey-Hey! Producer – Brian Willey, Jimmy Grant (4)Written-By [Hey-Hey-Hey-Hey!] – Penniman*Written-By [Kansas City] – Leiber-Stoller*	2:43
4-26	That's What We're Here For (Speech) Presenter – Brian MatthewProducer – Bernie Andrews	0:24
4-27	I Feel Fine (Studio Outtake Sequence) Producer – Bernie AndrewsWritten-By – Lennon-McCartney	3:29
	Bonus Interview Tracks
4-28	Paul - Pop Profile Interviewer – Brian MatthewProducer – Pete Dauncey	7:50
4-29	Ringo - Pop Profile Interviewer – Brian MatthewProducer – Pete Dauncey

------------------

Notes

Box set containing the two volumes of The Beatles "Live At The BBC".

Vol. 1: "The Beatles Live At The BBC" remastered, originally released in 1994.
1-1. Recorded 3 October 1963 at NEMS Enterprises, London. Transmitted on 3 November 1963 "The Public Ear".
1-2. Recorded 28 February 1964 in Number One Studio, BBC Piccadilly Theatre, London. Transmitted on Easter, Whitsun and August Bank Holidays 1964 shows "From Us To You Say The Beatles".
1-3, 2-9, 2-18 to 2-20. Recorded 17 November 1964 at BBC Playhouse Theatre, London. Transmitted on 26 November 1964 "Top Gear".
1-4, 1-27. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 13 August 1963 "Pop Go The Beatles".
1-5. Recorded 3 September 1963 in Studio Two, Aeolian Hall, London. Transmitted on 10 September 1963 "Pop Go The Beatles".
1-6. Recorded 22 January 1963 at BBC Playhouse Theatre, London. Transmitted on 26 January 1963 "Saturday Club".
1-7. Recorded 4 April 1963 at BBC Paris Theatre, London. Transmitted on 24 June 1963 "Side By Side".
1-8, 1-13, 1-14, 2-28, 2-29. Recorded 1 June 1963 at BBC Paris Theatre, London. Transmitted on 11 June 1963 "Pop Go The Beatles".
1-9, 2-30 to 2-32. Recorded 1 August 1963 at BBC Playhouse Theatre, Manchester. Transmitted on 27 August 1963 "Pop Go The Beatles".
1-10. Recorded 1 June 1963 at BBC Paris Theatre, London. Transmitted on 18 June 1963 "Pop Go The Beatles".
1-11, 1-12. Recorded 19 June 1963 at BBC Playhouse Theatre, London. Transmitted on 23 June 1963 "Easy Beat".
1-15 to 1-20. Recorded 2 July 1963 in Studio Five, BBC Maida Vale, London. Transmitted on 16 July 1963 "Pop Go The Beatles".
1-21, 1-22, 1-25, 1-29, 2-24. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 6 August 1963 "Pop Go The Beatles".
1-23, 1-24. Recorded 30 July 1963 at BBC Playhouse Theatre, London. Transmitted on 24 August 1963 "Saturday Club".
1-26, 2-10 to 2-13, 2-17, 2-35. Recorded 10 July 1963 in Studio Two, Aeolian Hall, London. Transmitted on 23 July 1963 "Pop Go The Beatles".
1-28. Recorded 16 October 1963 at BBC Playhouse Theatre, London. Transmitted on 20 October 1963 "Easy Beat".
1-30. Recorded 7 January 1964 at BBC Playhouse Theatre, London. Transmitted on 15 February 1964 "Saturday Club".
1-26, 2-14, 2-25, 2-26. Recorded 10 July 1963 in Studio Two, Aeolian Hall, London. Transmitted on 30 July 1963 "Pop Go The Beatles".
1-32. Recorded 7 September 1963 at BBC Playhouse Theatre, London. Transmitted on 5 October 1963 "Saturday Club".
1-33 to 1-35, 2-3 to 2-7. Recorded 28 February 1964 in Number One Studio, BBC Piccadilly Theatre, London. Transmitted on 30 March 1964 "From Us To You Say The Beatles".
2-1, 2-2, 2-8. Recorded 14 July 1964 in Studio S2, Broadcasting House, London. Transmitted on 16 July 1964 "Top Gear".
2-15, 2-16, 2-33. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 20 August 1963 "Pop Go The Beatles".
2-21. Recorded 25 November 1964 in Studio One, Aeolian Hall, London. Transmitted on 26 December 1964 "Saturday Club".
2-22, 2-23. Recorded 26 May 1965 in Number One Studio, BBC Piccadilly Theatre, London. Transmitted on 7 June 1965 "The Beatles Invite You To Take A Ticket To Ride".
2-27. Recorded 1 May 1964 at BBC Paris Theatre, London. Transmitted on 18 May 1964 "From Us To You Say The Beatles".
2-34. Recorded 1 August 1963 at BBC Playhouse Theatre, Manchester. Transmitted on 3 September 1963 "Pop Go The Beatles".
2-36. Recorded 28 February 1964 in Number One Studio, BBC Piccadilly Theatre, London.

Vol. 2: "On Air - The Beatles Live At The BBC Volume 2".
3-1. Recorded 10 July 1963 in Studio Two, Aeolian Hall, London. Transmitted on 23 July 1963 "Pop Go The Beatles".
3-2. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 20 August 1963 "Pop Go The Beatles".
3-3, 3-4, 3-17, 3-25. Recorded 10 July 1963 in Studio Two, Aeolian Hall, London. Transmitted on 30 July 1963 "Pop Go The Beatles".
3-5. Recorded 3 September 1963 in Studio Two, Aeolian Hall, London. Transmitted on 17 September 1963 "Pop Go The Beatles".
3-6, 3-8, 3-12 to 3-15, 3-23, 3-24. Recorded 17 June 1963 in Studio Five, BBC Maida Vale, London. Transmitted on 25 June 1963 "Pop Go The Beatles".
3-7. Recorded 1 August 1963 at BBC Playhouse Theatre, Manchester. Transmitted on 27 August 1963 "Pop Go The Beatles".
3-9. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 13 August 1963 "Pop Go The Beatles".
3-10. Recorded 6 March 1963 at BBC Playhouse Theatre, Manchester. Transmitted on 12 March 1963 "Here We Go".
3-11. Transmitted live on 16 March 1963 from Studio 3A, Broadcasting House, London. "Saturday Club".
3-16. Recorded 3 September 1963 in Studio Two, Aeolian Hall, London. Transmitted on 24 September 1963 "Pop Go The Beatles".
3-18. Recorded 2 July 1963 in Studio Five, BBC Maida Vale, London. Transmitted on 16 July 1963 "Pop Go The Beatles".
3-19, 3-20. Recorded 3 September 1963 in Studio Two, Aeolian Hall, London. Transmitted on 10 September 1963 "Pop Go The Beatles".
3-21, 3-22. Recorded 1 August 1963 at BBC Playhouse Theatre, Manchester. Transmitted on 3 September 1963 "Pop Go The Beatles".
3-26. Recorded 22 January 1963 at BBC Playhouse Theatre, London. Transmitted on 26 January 1963 "Saturday Club".
3-27 to 3-30, 3-32. Recorded 3 September 1963 in Studio Two, Aeolian Hall, London. Transmitted on 24 September 1963 "Pop Go The Beatles".
3-31. Recorded 16 July 1963 at BBC Paris Theatre, London. Transmitted on 6 August 1963 "Pop Go The Beatles".
3-33, 3-34. Recorded 30 November 1965 in NEMS Office, London. "Pop Profile" BBC Transcription Service.
4-1, 4-4 to 4-7. Recorded 7 September 1963 at BBC Playhouse Theatre, London. Transmitted on 5 October 1963 "Saturday Club".
4-2, 4-3. Recorded 30 July 1963 at BBC Playhouse Theatre, London. Transmitted on 24 August 1963 "Saturday Club".
4-8, 4-9. Recorded 16 October 1963 at BBC Playhouse Theatre, London. Transmitted on 20 October 1963 "Easy Beat".
4-10, 4-11. Recorded 18 December 1963 at BBC Paris Theatre, London. Transmitted on 28 December 1963 "From Us To You Say The Beatles".
4-12, 4-13. Recorded 17 December 1963 at BBC Playhouse Theatre, London. Transmitted on 21 December 1963 "Saturday Club".
4-14. Recorded 7 January 1964 at BBC Playhouse Theatre, London. Transmitted on 15 February 1964 "Saturday Club".
4-15. Recorded 31 March 1964 at BBC Playhouse Theatre, London. Transmitted on 4 April 1964 "Saturday Club".
4-16 to 4-19, 4-21. Recorded 14 July 1964 in Studio S2, Broadcasting House, London. Transmitted on 16 July 1964 "Top Gear".
4-20. Recorded 28 February 1964 in Number One Studio, BBC Piccadilly Theatre, London. Transmitted on 30 March 1964 "From Us To You Say The Beatles".
4-22, 4-23, 4-26. Recorded 17 November 1964 at BBC Playhouse Theatre, London. Transmitted on 26 November 1964 "Top Gear".
4-24. Recorded circa May or June 1965. "Top Of The Pops" BBC Transcription Service.
4-25. Recorded 25 November 1964 in Studio Two, Aeolian Hall, London. Transmitted on 26 December 1964 "Saturday Club".
4-27. Recorded 17 November 1964 at BBC Playhouse Theatre, London. Undubbed version. The overdubbed version was transmitted on 26 November 1964 "Top Gear".
4-28, 4-29. Recorded 2 May 1966 at BBC Playhouse Theatre, London. "Pop Profile" BBC Transcription Service.

Source: https://www.discogs.com/Beatles-Live-At-The-BBC-The-Collection-Vol-1-2/release/5102759

The Beatles Anthology, Vols 1-3 are now available on all collaborating streaming services, and it is the June 2011 remastered-for-iTunes versions. Originally released in 2CD volumes in 1995 and 1996, Anthology’s three chronological collections of rare and previously unreleased Beatles recordings include studio outtakes and alternate versions. The “Free as a Bird” and “Real Love” singles, from Anthology, Volume 1 and Anthology, Volume 2, respectively, were completed in 1995 by George Harrison, Paul McCartney and Ringo Starr from 1977 demos recorded by John Lennon.
The 2011 remasters sound a lot better than their 1995-96 counterparts, which is especially noticeable on the first of the three volumes.



Upon their original release, Anthology, Volumes 1-3 topped charts and went multi-platinum in several countries around the world. “Free as a Bird” became The Beatles’ 34th Top 10 hit in the U.S., winning the 1996 GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocal. Anthology, Volume 3 includes “A Beginning,” an instrumental orchestral arrangement originally recorded for The Beatles (The White Album).


Anthology, Volumes 1-3 were remastered at Abbey Road Studios by the same team of engineers responsible for The Beatles’ GRAMMY-winning 2009 studio album remasters, carefully maintaining the authenticity and integrity of the original analogue recordings. The collections are accompanied by original collage artwork created by Klaus Voormann from classic Beatles imagery.

You can listen to The Beatles Anthology Vol 1-3, and the selected highlights collection, right now. Find your local streaming partner at thebeatles.com.

Highly Recomended

A podcast has also been made,with Kevin Howlett and Mark Ellen discussing The Beatles Anthology. Available here. 


Posted by Roger Stormoat Wednesday, April 06, 2016

Source: http://wogew.blogspot.com/2016/04/remastered-anthologies.html

 

 Beatles’ “Anthology” Receives a Very Digital Remaster

So here’s some good news for Beatlemaniacs: the Anthology series, the three-volume clearinghouse of Beatles outtakes and vault material released in 1995-1996, is getting digitally remastered. The bad news? You’re not going to find it in your local record shop.

 

This new remaster of each two-disc set is actually going to be an iTunes exclusive – quite a difference from years ago, when no Beatles material was sold digitally. Not only did Apple Computer crack the code for Apple Records, they also offered unreleased bonus tracks when the Love soundtrack for the Cirque du Soleil show was offered through the digital retailer earlier this year.

EMI has already confirmed that this remaster will not be available physically, nor will the iTunes albums include the Anthology documentaries, either. For those whose interest in The Beatles was piqued by finally having the catalogue accessible on iTunes, this is obviously a good thing, but most collectors aren’t going to care one way or another. And isn’t a digital remaster in a
n uncompressed format a contradiction in terms?
A physical product would have made perfect sense for collectors or anyone still missing those sets – I don’t believe all three Anthology entries were ever packaged as a six-disc box set (nor were they ever combined with the Anthology documentaries on DVD for a whopper of a 10-disc set) – but it is what it is, at the moment.

The Beatles’ Anthology is on iTunes June 14. The full details for the digital sets are after the jump.Each two-disc Anthology set can be pre-ordered for $29.99, or bought as a digital box set for $79.99. A 23-track highlights collection will be sold for $12.99, and all tracks can be bought a la carte at $1.29 apiece.

The Beatles’ iTunes page also has a new radio featurette, Meet The Beatles, to listen to, which features testimonials from famous Beatle fans including Brian Wilson, Jackson Browne and more. All of that can be found here.

And here are the track lists. Starred tracks will be included in the highlights collection.


The Beatles, Anthology 1 (Apple/Capitol CDP 72438 34445 2 6, 1995)
Disc 1

1. Free as a Bird *
2. John Lennon speaking to Jann Wenner (interview #1)
3. That’ll Be the Day (Mono) (Phillips Session, 1958 )
4. In Spite of All the Danger (Mono) (Phillips Session, 1958 )
5. Paul McCartney speaking to Mark Lewisohn (interview)
6. Hallelujah, I Love Her So (Mono) (Home Recording, 1960)
7. You’ll Be Mine (Mono) (Home Recording, 1960)
8. Cayenne (Mono) (Home Recording, 1960)
9. Paul McCartney speaking to Malcom Threadgill (interview)
10. My Bonnie (Live @ Frierich-Ebert-Halle, Hamburg – 6/22/1961)
11. Ain’t She Sweet (Live @ Frierich-Ebert-Halle, Hamburg – 6/22/1961)
12. Cry for a Shadow (Live @ Frierich-Ebert-Halle, Hamburg – 6/22/1961)
13. John Lennon speaking to David Wigg (interview)
14. Brian Epstein from A Cellarful of Noise (interview #1)
15. Searchin’ (Mono) (Decca Audition, 1962)
16. Three Cool Cats (Mono) (Decca Audition, 1962)
17. The Sheik of Araby (Mono) (Decca Audition, 1962)
18. Like Dreamers Do (Mono) (Decca Audition, 1962)
19. Hello Little Girl (Mono) (Decca Audition, 1962)
20. Brian Epstein from A Cellarful of Noise (interview #2)
21. Bésame Mucho (Mono) (EMI Session, 1962)
22. Love Me Do (Mono) (EMI Session, 1962)
23. How Do You Do It (Mono) (EMI Session, 1962)
24. Please Please Me (Mono) (EMI Session, 1962)
25. One After 909 (Sequence) (Mono) (EMI Session, 1963)
26. One After 909 (Complete) (Mono) (EMI Session, 1963) *
27. Lend Me Your Comb (BBC Session/Pop Goes The Beatles radio show, 1963)
28. I’ll Get You (Mono) (Live on Val Parnell’s Sunday Night at the London Palladium – 10/13/1963
29. John Lennon speaking to Jann Wenner (interview #2)
30. I Saw Her Standing There (Mono) (Live @ the Karlaplansstudion, Stockholm, Sweden – 10/24/1963
31. From Me to You (Mono) (Live @ the Karlaplansstudion, Stockholm, Sweden – 10/24/1963
32. Money (That’s What I Want) (Mono) (Live @ the Karlaplansstudion, Stockholm, Sweden – 10/24/1963
33. You Really Got a Hold on Me (Mono) (Live @ the Karlaplansstudion, Stockholm, Sweden – 10/24/1963
34. Roll Over Beethoven (Mono) (Live @ the Karlaplansstudion, Stockholm, Sweden – 10/24/1963

Disc 2

1. She Loves You (Mono) (Live @ the Prince of Wales Theatre, London – 11/4/1963)
2. Till There Was You (Mono) (Live @ the Prince of Wales Theatre, London – 11/4/1963)
3. Twist and Shout (Mono) (Live @ the Prince of Wales Theatre, London – 11/4/1963)
4. This Boy (Mono) (Live on Morecambe and Wise – 12/2/1963)
5. I Want to Hold Your Hand (Mono) (Live on Morecambe and Wise – 12/2/1963)
6. Eric Morecambe and Ernie Wise speaking to The Beatles
7. Moonlight Bay (Mono) (Live on Morecambe and Wise – 12/2/1963)
8. Can’t Buy Me Love (Takes 1 & 2) *
9. All My Loving (Mono) (Live on The Ed Sullivan Show, CBS-TV, 2/9/1964)
10. You Can’t Do That (Take 6)
11. And I Love Her (Take 2)
12. A Hard Day’s Night (Take 1)
13. I Wanna Be Your Man (Live @ IBC Studios, London – 4/19/1964)
14. Long Tall Sally (Live @ IBC Studios, London – 4/19/1964)
15. Boys (Live @ IBC Studios, London – 4/19/1964)
16. Shout (Live @ IBC Studios, London – 4/19/1964)
17. I’ll Be Back (Take 2)
18. I’ll Be Back (Take 3)
19. You Know What to Do (Demo)
20. No Reply (Demo)
21. Mr. Moonlight (Takes 1 & 4) *
22. Leave My Kitten Alone (Take 5) *
23. No Reply (Take 2)
24. Eight Days a Week (Sequence)
25. Eight Days a Week (Take 5) *
26. Kansas City/Hey-Hey-Hey-Hey! (Take 2) *

The Beatles, Anthology 2 (Apple/Capitol CDP 7243 8 34448 2 3, 1996)

Disc 1

1. Real Love *
2. Yes It Is (Takes 2 & 14)
3. I’m Down (Take 1)
4. You’ve Got to Hide Your Love Away (Takes 1, 2 & 5) (Mono)
5. If You’ve Got Trouble (Take 1) *
6. That Means a Lot (Take 1) *
7. Yesterday (Take 1) *
8. It’s Only Love (Takes 2 & 3) (Mono)
9. I Feel Fine (Mono) (Live @ ABC Theatre, Blackpool – 8/1/1965)
10. Ticket to Ride (Mono) (Live @ ABC Theatre, Blackpool – 8/1/1965)
11. Yesterday (Mono) (Live @ ABC Theatre, Blackpool – 8/1/1965)
12. Help! (Mono) (Live @ ABC Theatre, Blackpool – 8/1/1965)
13. Everybody’s Trying to Be My Baby (Mono) (Live @ Shea Stadium, New York City – 8/15/1965)
14. Norwegian Wood (This Bird Has Flown) (Take 1)
15. I’m Looking Through You (Take 1) *
16. 12-Bar Original (Edited Take 2)
17. Tomorrow Never Knows (Take 1) *
18. Got to Get You Into My Life (Take 5) (Mono)
19. And Your Bird Can Sing (Take 2)
20. Taxman (Take 11)
21. Eleanor Rigby (Take 14 String Section)
22. I’m Only Sleeping (Rehearsal) (mono)
23. I’m Only Sleeping (Take 1) (Mono)
24. Rock and Roll Music (Mono) (Live @ Budokan, Tokyo – 6/30/1966)
25. She’s a Woman (Mono) (Live @ Budokan, Tokyo – 6/30/1966)

Disc 2

1. Strawberry Fields Forever (Mono Demo Sequence)
2. Strawberry Fields Forever (Take 1) *
3. Strawberry Fields Forever (Take 7 & Edit Piece) (Mono)
4. Penny Lane (Take 9 Horn Overdub)
5. A Day in the Life” (Takes 1, 2, 6 & Orchestra)
6. Good Morning Good Morning (Take 8 )
7. Only a Northern Song (Takes 3 & 12)
8. Being for the Benefit of Mr. Kite! (Takes 1 & 2)
9. Being for the Benefit of Mr. Kite! (Take 7 & Effects Tape)
10. Lucy in the Sky with Diamonds (Takes 6-8 )
11. Within You Without You (Instrumental Takes)
12. Sgt. Pepper’s Lonely Hearts Club Band (Reprise) (Take 5) (Mono)
13. You Know My Name (Look Up the Number) (Composite)
14. I Am the Walrus (Take 16, No Overdubs)
15. The Fool on the Hill (Mono Demo)
16. Your Mother Should Know (Take 27)
17. The Fool on the Hill (Take 4)
18. Hello, Goodbye (Take 16 and Overdubs)
19. Lady Madonna (Takes 3 & 4)
20. Across the Universe (Take 2) *

The Beatles, Anthology 3 (Apple/Capitol CDP 7243 8 34451 2 7, 1996)

Disc 1

1. A Beginning
2. Happiness is a Warm Gun (Kinfauns Home Demo) (Mono)
3. Helter Skelter (Edited Take 2) (Mono)
4. Mean Mr. Mustard (Kinfauns Home Demo)
5. Polythene Pam (Kinfauns Home Demo)
6. Glass Onion (Kinfauns Home Demo)
7. Junk (Kinfauns Home Demo)
8. Piggies (Kinfauns Home Demo) (Mono)
9. Honey Pie (Kinfauns Home Demo)
10. Don’t Pass Me By (Takes 3 & 5)
11. Ob-La-Di, Ob-La-Da (Take 5)
12. Good Night (Rehearsal & Take 34) *
13. Cry Baby Cry (Take 1)
14. Blackbird (Take 4)
15. Sexy Sadie (Take 6)
16. While My Guitar Gently Weeps (Demo) *
17. Hey Jude (Take 2)
18. Not Guilty (Take 102) *
19. Mother Nature’s Son (Take 2)
20. Glass Onion (Take 33) (Mono)
21. Rocky Raccoon (Take 8 )
22. What’s the New Mary Jane (Take 4)
23. Step Inside Love/Los Paranoias
24. I’m So Tired (Takes 3, 6 and 9)
25. I Will (Take 1)
26. Why Don’t We Do It in the Road? (Take 4)
27. Julia (Take 2)

Disc 2

1. I’ve Got a Feeling (Savile Row)
2. She Came in Through the Bathroom Window (Savile Row Rehearsal)
3. Dig a Pony (Savile Row)
4. Two of Us (Savile Row)
5. For You Blue (Savile Row)
6. Teddy Boy (Savile Row)
7. Medley: Rip It Up/Shake, Rattle and Roll/Blue Suede Shoes (Savile Row)
8. The Long and Winding Road (Savile Row) *
9. Oh! Darling (Savile Row)
10. All Things Must Pass (Demo) *
11. Mailman, Bring Me No More Blues (Savile Row)
12. Get Back (Live on the Apple Building Rooftop, Savile Row, London – 1/30/1969)
13. Old Brown Shoe (Demo)
14. Octopus’s Garden (Takes 2 & 8 ) *
15. Maxwell’s Silver Hammer (Take 5)
16. Something (Mono Demo)
17. Come Together (Take 1)
18. Come and Get It (Demo) *
19. Ain’t She Sweet (Jam)
20. Because (A Cappella)
21. Let It Be (Savile Row)
22. I Me Mine (Take 16)
23. The End (Remix)
    
    
    Source: http://theseconddisc.com/2011/05/31/beatles-anthology-receives-a-very-digital-remaster/

Suggested Links

• Beatles author Mark Lewisohn previews next two books in exclusive interviews
• Exclusive: A private tour of Capitol Records' historic 60-year-old L.A. studios
• Paul McCartney gets back on the road in Sunday show in Argentina
• Exclusive: Freda Kelly remembers her good friend Beatles PR man Tony Barrow

Watch it here:
http://teamcoco.com/video/serious-jibber-jabber-beatles-biographer-mark-lewisohn?playlist=x;eyJ0eXBlIjoicmVsYXRlZCIsImlkIjo5NDUxMX0

Finally, The Beatles have released a film trailer and a poster, as well as information about what started as a documentary about The Beatles live concerts, but ended up as a broader perspective on the first part of their career, from 1962 to 1966.



The Beatles: Eight Days A Week - The Touring Years will be getting a theatrical all-star world premiere in London on September 15th, and the same day it will also be screened in France and Germany. Other countries will follow, currently release dates have been published for Australia and New Zealand (September 16th) and Japan (September 22nd), in addition to the previously mentioned UK, France and Germany (September 15th).

Hulu will have the exclusive US streaming video on-demand rights to the film on SVOD beginning September 17th – marking the first feature film to debut on Hulu following its theatrical premiere. The Beatles: Eight Days A Week - The Touring Years is the first film acquired by Hulu’s Documentary Films arm which will serve as a new home for premium original and exclusive documentary film titles coming to Hulu.

The film is based on the first part of The Beatles’ career (1962-1966) – the period in which they toured and captured the world’s acclaim. Ron Howard’s film will explore how John Lennon, Paul McCartney, George Harrison and Ringo Starr came together to become this extraordinary phenomenon, The Beatles. It will explore their inner workings – how they made decisions, created their music and built their collective career together – all the while, exploring The Beatles’ extraordinary and unique musical gifts and their remarkable, complementary personalities. The film will focus on the time period from the early Beatles’ journey in the days of The Cavern Club in Liverpool to their last concert at Candlestick Park in San Francisco in 1966.

Featuring rare and exclusive footage, the film is produced with the full cooperation of Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.

Richard Abramowitz’s Abramorama will handle the US theatrical release of the film that is set to be an event driven experience with a few special surprises planned for cinemagoers.




Of special interest is a brief sequence near the end of the trailer, featuring colour footage shot from behind the band, from the Washington DC concert, February 1964.

Link: TheBeatlesEightDaysAWeek.com

Credits:
Award-winning Editor Paul Crowder is the editor. Crowder’s long-time collaborator, Mark Monroe, is serving as writer. Marc Ambrose is the supervising producer.
White Horse Pictures’ Grammy Award-winning Nigel Sinclair, Scott Pascucci and Academy Award®-winner and Emmy® Award-winner Brian Grazer of Imagine Entertainment are producing with Ron Howard. Apple Corps Ltd.’s Jeff Jones and Jonathan Clyde are serving as executive producers, along with Imagine’s Michael Rosenberg and White Horse’s Guy East and Nicholas Ferrall. Studiocanal is an anchor partner on the film, having acquired UK, France, Germany and Australia and New Zealand rights.

Source: https://wogew.blogspot.com/2016/06/poster-trailer-and-cinema-dates.html

Source: https://www.youtube.com/watch?v=sCSZn2Q7o8U