Просто Yellow Dog...

Иногда в жизни случаются моменты, ради которых стоит жить.
Моменты, когда все остальные проблемы, бытовые и житейские уходят на другой план.
Когда ты можешь “прыгать через лужи”, когда ты “можешь двигать стены в своей квартире”, когда ты, стоя в пробке около часа, улыбаешься и прижимаешь к себе НЕЧТО, от которого ты ждешь очень многого, когда ты едешь в метро в час пик и тебя постоянно толкают и ты прижимаешь ЭТО, чтобы не разбилось, близко к сердцу, и вот, наконец, ты приходишь домой и ставишь одно из последних изданий Yellow Dog`а – “Complete Controlroom Monitor Mixes”, и понимаешь – ЭТО ВСЕ!
Рабочий момент записи Sexy Sadie отправляет тебя в глубокий нокаут. Ты слушаешь его постоянно, параллельно перечитывая Евангелие от Марка (Lewisona), секунда за секундой. После чего ты встаешь посреди комнаты и кричишь: “Я как Спартак!”

Lemon Lennon
http://faab.pro.tok2.com/yellowdog/yellow_dog/yd08384.html
http://faab.pro.tok2.com/yellowdog/yellow_dog/yd08586.html

Хмммм
2СД?

А у меня помоему 1СД. Как же так получилось?

Да Вы, батенька, gourmet :)))

2Zepplock: это новый релиз от Yellow Dog - 2002 год - 4 диска! Первый релиз (один диск) вышел еще в 1993-м.
Кстати, Yellow Dog порадовала еще и диском THE SEVEN YEARS OF CHRISTMAS.

А вот небольшое ревью (сорри, на английском):

CONTROL ROOM MONITOR MIXES
VOLUME ONE, DISC ONE

Two voices are evident throughout, one of which is unmistakably Roger Scott.
The other I'm assuming is John Barrett (very soft-spoken, whoever it
is), playing his tapes for Roger. It's very cool to listen along with Roger, as he hears this stuff for the first time and comments on it. He also talks
from time to time about how the material will be used in the "Beatles At
Abbey Road" presentation, so I'm guessing these tapes come from late '82 or early '83.
Here are the notes I took on Volume 1, Disc 1 during my first listen.
New musical material is almost nil, but this puts the stuff into context
at last:
We begin with a couple of takes of "Strawberry Fields Forever":

1. Strawberry Fields Forever (T25)
The "orchestral" mix familiar from boots, except this has the svaramandel included as well as some more Mellorton fiddling at the end.

2. Strawberry Fields Forever (T26)
Again, similar to bootleg but with a bit of Lennon vocal at the start
which the bootleggers mixed out (John waiting for his vocal entry). Roger
then comments on what he's hearing:
RS: I don't know where that came from! Is that your mix, or have you
just taken it out from a quarter-inch? Did you mix that?
JB: Yeah, I just shoved it straight off the tape. It had to be a lot
better than that.
RS: Just - everything full open?
JB: - just bring the strings across -
RS: But isn't it - it's still only on four, isn't it?
JB: Yes, still on four-track, yeah.
RS: But each track's full of stuff! There's nothing separate. What -
even with the strings, what's mixed in with the strings?
JB: I think the basic orchestra -
RS: All the orchestra's on one?
JB: I think they're on two, and then you had vocal and rhythm track...

3. Strawberry Fields Forever (final version w/edit)
Volume fades after a minute or so and Roger begins discussing how to
use the song in the presentation. "The larger bits as it builds up, and then 'wallop'- the video."

4. Hello Goodbye (take 1 - excerpts)
Fast-forwarding through the tape occasionally.
We then cut to John playing one of his cassette compilations of
finished mixes - tracks 5-12 surfaced in the 1999 cache and have no new
material:

5. One After 909 (take 2)
JB plays back the ending to highlight John's "What kind of solo was
that?" and they laugh about it.

6. One After 909 (edit of takes 4/5)
JB: "I think I edited that."

7. Leave My Kitten Alone (no false start)
JB: That was done on the same day they did "I'm A Loser".
RS: That with "One After 909" will be a single.

8. If You've Got Troubles (no second "rock on")
RS: Didn't miss much there. [i.e.: "That song sure sucked!"]
JB: One take. They did "You've Got To Hide Your Love Away" and "Tell
Me What You See" the same day.

9. That Means A Lot (take 1)

10. Norwegian Wood (take 1)
JB: "This [next one] is impressive".

11. I'm Looking Through You (take 1 w/fade)

12. Not Guilty (usual version, incomplete)
Then it's back to:

13. Hello Goodbye (take 1 excerpt)
And then John plays one of the "White Album" ad-lib tapes, skipping
around quite a bit:

14. F*ck a Duck - Sexy Sadie
John sings: "F*ck a duckie", etc., then "Okay, boys" and goes into a version on the previous CRMM

15. Brian Epstein Blues (the familiar version but longer jamming at
end)
John: "Something like that, y'see."
Sings: "I saw Mary sitting on the dairy, I saw Mary..."
Then into a short Chuck Berry jam - John sings, "Go, Little Ringo!"
Tape is wound back (or forward) a few times, to find:

16. Sexy Sadie - Who The F*ck You Think You Are
Another short jam, then more tape winding.
John sings: "Who the f*ck do you think you are? Who the f*ck do you think you aaaaaa-ha-hare? Oh, you cunt! Hey, hey!"
Then into familiar bits from the first CRMM disc, The Beatles listening to "Sexy Sadie" playbacks.
The disc ends with more of "Strawberry Fields", maybe a second or two
of new noodling at the start:

17. Strawberry Fields Forever, instrumental (take 2)

18. Strawberry Fields Forever, vocal (takes 3 + 4)
interrupted by the phone ringing -
RS answers: "Hallo? He's not actually. I don't know where he is. Wandering around somewhere. Okay!"
A woman is now present - Roger asks if she's heard this, and she says
no.

19. Strawberry Fields Forever (take 1)
That's it! Fun stuff to hear - the quality is consistent throughout and matches the earlier CD of this stuff.

VOLUME ONE, DISC TWO:

1. Can't Buy Me Love (take 1)
Same as the file Yosi uploaded to Beatlegs files.

2. Can't Buy Me Love (take 2)
With slate and pre-song chat for the first time.
Tape stopped in verse one and fast forwarded to solo.

3. Can't Buy Me Love (take 3)
Ends with slate for take 4 and very beginning of the master take.

4. I Saw Her Standing There (take 1)
incomplete, fast-forwarded to...

5. I Saw Her Standing There (takes 6, 8 and 9)
Beginning of take 6, fast-forward to take 8 and then...
JB: "This is the basic master."...a bit of take 9.
Barrett explains about "track two" and how they overdubbed the claps...

6. I Saw Her Standing There (takes 11, 12, then rewind to take 5)

7. I Saw Her Standing There (takes 1, 6, 11)
Preparing the edit used in "Beatles At Abbey Road" - cuing up the various takes and splicing them together.

8. Misery (takes 2 and 3, various portions)
On top of this, Roger and others discuss how "great" and "modern" this all sounds.

9. One After 909 (chat after take 3, takes 4 and 5, various portions)

10. I'm A Loser (takes 1 and 2, incomplete)

11. Lady Madonna (take 4)
Isolating the vocals/tambourine tracks (and a bit of organ)
Very strange - assuming this isn't a Beatles-era playback (if so, what
reel could it be from?), Paul does a lot of chattering on one of the vocal tracks about what the promotional film should look like.

12. Lady Madonna (take 4)
Preparing the mix used in "Beatles At Abbey Road" - stopped just before end and rewound.

13. Lady Madonna (take 4)
Isolating the piano, guitars, drums near the end.

14. Lady Madonna (take 4)
Yet another attempt. Sounds similar to the version on Unsurpassed 7.

15. Think For Yourself (studio chat)
All 18 minutes, but nothing new.

16. While My Guitar Gently Weeps (take 1)
Isolating organ/vocal/guitar tracks near the start. A bit of chat from George at the end: "Uh, do you want to - are you playing on the intro?"

VOLUME TWO, DISC ONE:

1. While My Guitar Gently Weeps (take 1)
Seems like the chat which ended the last disc should actually start
this disc, which opens abruptly with George's count-in (also new), and then another mix of the take, with less organ this time and some annoying track-switching.

2. While My Guitar Gently Weeps (take 1, incomplete)
Roger Scott mumbles about take 1 of "Strawberry Fields" (maybe comparing the two) and we get more of George's pre-song chat, something to do with sustain.
Rewound and started over near the start.

3. Across The Universe (take 2)
Opens with very faint take announcement, then rewound to start for the version familiar from the first CRMM disc.

4. A Hard Day's Night (take 1)
With take announcement and count-in for the first time. Some track isolation.

5. A Hard Day's Night (take 1)
RS: "Why were they doing live vocals? If it was four-track, why were they doing live vocals? We are using this to demonstrate the four-track, somewhere on this?"
Another playback of take 1 w/slate and count-in.

6. A Hard Day's Night (takes 2-4)
Someone in the control room laughs out loud at George's poor guitar solo.

7. A Hard Day's Night (take 5)

8. A Hard Day's Night (take 6, incomplete)
The remainder of this disc was already available on "CRMM", except where noted below:

9. For No One (takes 1 and 2)

10. I Am The Walrus (take 7)

11. I Am The Walrus (takes 8 and 9 + rehearsal)
Ends with about a minute of new material, evidently a rehearsal take recorded over by takes 1-9.

12. For No One (take 10)
Begins with new material, the piano/drum tracks from an unknown take.
Fast-forward to start of take 10. Ringo asks Paul for instructions on drumming. Then two takes of isolating channels (same as CRMM).

13. For No One (take 14)
More complete than before (a bit of the middle was chopped out on CRMM).

14. For No One (take 14)

15. Here There And Everywhere (take 14)

16. Here There And Everywhere (take 14)

VOLUME TWO, DISC TWO:

1. Here, There And Everywhere (take 14)

2. Here, There And Everywhere (take 14)
Both sound the same as the original CRMM disc.

3. Strawberry Fields Forever (take 1)
JB: "I haven't got very much on this, because they started hacking the masters about, so it's all in... it's 26 takes."

4. Strawberry Fields Forever (take 2, incomplete)

5. Strawberry Fields Forever (take 2, incomplete)to take 3 near the end.

6. Strawberry Fields Forever (takes 3 and 4)

7. Strawberry Fields Forever (takes 5, 6 and 7)
During this, JB explains how they made extra tracks by doing a reduction mix of take 6 into take 7, then did takes 9-25 later.

8. Help! (chat after take 3, take 4 incomplete)
At last we can hear where take 4 fits in the context of this session (it was chopped out and used in "Beatles At Abbey Road")! Roger talks with someone about a convention in Birmingham in 1978 (?) where a Liverpool DJ played an acetate.

9. Help! (take 4)

10. Help! (take 4, incomplete)
Roger asks when they stopped doing live vocals on the backing tracks.

11. Help! (take 5, 6, and 7 - various portions)

12. Help! (takes 8 and 9)

13. Help! (take 11, 12, and 4, incomplete)
JB: "So that's how it's layered."
Roger: "And yet they're not identifying it as dubbing, or... I mean, they're just carrying on as take 11, take 12..."
JB: "Yeah. I still think that take 4..."
He cues up take 4, preceded by a bit of "Yes It Is" which may have been part of the original "Beatles At Abbey Road" lineup. Then they talk about which bit of film to use during the presentation.

14. Twist And Shout (take 2!!!)
Made you look! Just kidding, it's the end of take 1, as used in "Beatles At Abbey Road".

15. One After 909 (chat + portions of takes 4 and 5)
JB explains why he cut out some of the chat because it was hard to hear. He and Roger discuss which portions to use.

16. Can't Buy Me Love (take 1, not as complete as Vol. 1)
JB explains that he'd like to use this for the lovely backing vocals
that aren't on the master take.

17. Can't Buy Me Love (take 2, portions)

18. Can't Buy Me Love (takes 3 and 4, incomplete)
Roger asks if they can use some of this song synced to footage of the
Dutch TV performance. But it was not to be.

19. I'm A Loser (takes 1 and 2, incomplete)

20. Can't Buy Me Love (take 4, incomplete)
This is followed by the intro of the "Beatles At Abbey Road" show -
Paul from the '64 Xmas message and then "Love Me Do".

21. Lady Madonna (Paul on organ)
From the White Album "Ad-lib" tapes - same as on CRMM, but a bit longer at end. Segues directly into...

22. While My Guitar Gently Weeps (Paul sings and plays organ)
Same source as above but new.

And that's it! What's missing from these sets are the other "White
Album" monitor mixes ("I'm So Tired" and "Happiness Is A Warm Gun") - which could mean there's even MORE of this out there waiting to be bootlegged.
Or could those be from some unrelated source?

THE SEVEN YEARS OF CHRISTMAS

1. Christmas Time Is Here Again! (music take 1)
The usual version from the "Boardroom Tape", but incomplete!

2. The Beatles' Christmas Record (Christmas Record 1963)

3. Hello Dolly (1964 outtake)

4. Speech, take 1 (1964 outtake)
Both the above are the same as on Yellow Dog's earlier Xmas CD.

5. Speech, take 2 (1964 outtake)
Paul's portion of this was used in the 1984 "Sgt. Pepper" special.
Most of it is new. They sound very bored and weary.
Their version of "The 12 Days Of Christmas":
"On the first day of Chrimble, my true love sent to me...
One plastic bag, one plastic bag, one plaaaaa-stic baaag...
One plastic bag, two Ringos, two tins of beans, and a Chrimble in a pear tree."
George's final thoughts: "And I'd just like to say - we hate yer all, ya little scruffs!"

6. Speech, takes 3 + 4 (1964 outtake)
Take 3 is a false start, but Paul doesn't like being interrupted: "Sod off! I'm gettin' all sincere!"
This cuts to a bit of the marching. Apparently these are remnants leftover from editing the master take, but there is still a small bit missing that was in the "Sgt. Pepper" special (unless that's from some other session).

7. Another Beatles Christmas Record (Christmas Record 1964)

8. The Beatles Third Christmas Record (Christmas Record 1965)

9. Speech, take 1-2 (outtakes 1966)
From the Barrett/Scott "monitor mix" tapes. These are not outtakes of
the '66 Xmas flexi, but messages for Radio Caroline and Radio London. Some of this was on the "Free As A Bird" CD single, but there's a lot more here.
The boys read seasons' greetings in silly voices over Mellotron tapes.

10. Pantomime - Everywhere It's Christmas (Christmas Record 1966)

11. Christmas Time Is Here Again! (Christmas Record 1967)

12. The Beatles' Sixth Christmas Record (Christmas Record 1968)

13. The Beatles' Seventh Christmas Record (Christmas Record 1969)

14. Another Christmas Record (outtake, different opening, 1964)
Opens with announcement: "Christmas Message, take one". This seems to
be the rough work tape used to chop out part of Paul's speech for the
"Beatles In Abbey Road" show, as it's spliced back in in the wrong place.
Apart from tracks 1 and 9, these are all in-line recordings, excellent mono.
Although there's still noticable noise reduction on the flexis - Vigotone's version is better
But this is worth picking up for the new material, scant though it may be.

I`m Crazy !!!
Да, это именно 4 CDs !!!

THE SEVEN YEARS OF CHRISTMAS
у меня тоже есть, но пока не слушал, оставил на ночь.

Круто! Наконец-то появился НОВЫЙ студийный материал (Get Back не в счет).

Да это вообще надо всем. Хороший материал.

Класс - будем искать.

НАРОД, Я ПРСТО БАЛДЕЮ ОТ СЧАСТЬЯ!

ХЕ ЭТО РЕАЛЬНО НАЙТИ? КТО СКАЖЕТ ПОЛУЧИТ ДОЛЖНИКА В ВИДЕ МЕНЯ!

Да если есть деньги то оригиналы найти я могу это не рариетет какой то.
Просто время надо.

Диски Yellow Dog`а никогда не были раритетами.
Это одна из самых распространненых фирм.

Вопрос не совсем в тему, но все же.
У меня есть бутлег JOHN LENNON Various Live фирмы PIPELINE. Что это за фирма?
С уважением КЛИМ.

Pipeline Компания Итальянская. Так же могу добавить что это не новое издание а где то 1992 - 1994 тогда они выходили. По поводу компании не могу ничего добавить еще у меня есть двойной ЦД Роллинг Стоунз на этой компании. С уважением Сергей.

Да на диске действительно стоит дата 1994. Спасибо за информацию. С уважением
КЛИМ.