The Beatles - Revolver Remix (november 2022)

DISC 3- OUTTAKES PART 2
1-AND YOUR BIRD CAN SING (SECOND VERSION / TAKE 5)02:18 –NEW
The group decides to re-record this song in a different arrangement six days later. The track opens with John's words before Take 1: "Okay boys, quite brisk, moderate, foxtrot!" and is linked with Take 5, which received some overdubs. Excellent separation on the left channel (The original backing track. At the end Ringo stops earlier and tells John “I couldn't carry on”), and on the right channel the overdubs (John's lead vocal, lead guitar, vocal harmonies by Paul and George as well as a very particular three-vocal harmony “ahhhhhhhhhhh” not used in the final version). Is now close to the version that was officially released.

2-TAXMAN (TAKE 11)02:35 -PARTIALLY NEW
This is the same version previously available on 'Anthology 2', at a different speed -one second faster- and with a radically different mix than the one George Martin delivered, which was much more "pleasing" to fans for split on the left and right channels the different overdub processes, however Giles has integrated them into his mix on both channels, although it does not detract from the excellent separation of Harrison's two lead vocals. Is three seconds longer at the start before "One, Two, Three, Four" and four towards the end after Paul's bass riffs -where 'Anthology 2' fades out.

3-I’M ONLY SLEEPING (REHEARSAL FRAGMENT)00:46 -PARTIALLY NEW
Also available on 'Anthology 2', now one second longer at the beginning and nine towards the end with an interesting dialogue from George Martin giving his thoughts on this experimental arrangement with vibraphone until the tape cuts.

4-I’M ONLY SLEEPING (TAKE 2)02:26 - PARTIALLY NEW
16 seconds of this take can be heard in Ron Howard's documentary 'Eight Days A Week' and also in Bootlegs, although this full sequence reveals that it comes after the "Take three" announcement is heard. The arrangement of Take 2 is similar to the first take released on 'Anthology 2' which makes it unappealing now and is only 1:15 long, John makes a mistake and the take is stopped, the third is immediately announced but the dialogues between George Martin, John and Paul continue (including the brief 16-second improvisation available on 'Eight Days A Week'). Giles must have given other songs a chance of which he only chose a single take, the balance in favor of certain tracks is very evident and songs that could reveal much more in their recording processes were ignored.

5-I’M ONLY SLEEPING (TAKE 5)02:41 -NEW
Similar to the way of recording “Rain”, at a very fast speed and then slowing it down giving a completely different look. Another of the surprising outtakes selected for this 2022 collection. John and George on acoustic guitars, Paul on bass and Ringo on drums. Instrumental take with an extended intro.

6-I’M ONLY SLEEPING (MONO MIX RM1)03:04 -NEW
It joins the other officially available variants: RM5, RM6, RS1 and RS2 released on the Mono and Stereo LPs of “Yesterday..And Today” in the US and “Revolver” in the UK.
The most noticeable difference (besides the fact that we heard seven seconds before John's count-in as the tape started recording) is that is the only released mix that includes the sound of the backwards guitar throughout the middle bridge in which you can also hear Paul's yawn -from 02:02 and until 02:10 (between “..sleeping” and “Keepin' an eye..”). A more interesting version is the one that many attendees were able to hear prior to the 'Love' show in Las Vegas, forming part of the tape that Giles prepared with alternate versions, that instrumental version available on Bootleg includes the backwards guitar solo for most of the track, and on all bridges except the first one, unlike any of the released mixes.

7-ELEANOR RIGBY (SPEECH BEFORE TAKE 2)02:10 - PARTIALLY NEW
Seven seconds were already available as part of the interspersed dialogues in the video game Rockband, later in Bootlegs. George Martin asks Paul if he wants to hear the differences in the arrangement with and without vibrato and at the end of two short demonstrations, Paul doubts he has heard any radical difference but the musicians and Martin have other opinions. A very interesting track in this 2022 box.

8-ELEANOR RIGBY (TAKE 2)02:17 -NEW
The announcement “Take Two” opens this track. Differences during the chorus when compared to Take 14, used for the master and available on 'Anthology 2', although not so radical as to have taken the place in this box set of additional alternate takes of “Taxman”, “Doctor Robert” , “Good Day Sunshine” or “I Want To Tell You” (which is very punished in this collection) with an actual participation of the group. The decision to include more versions of "popular tracks" always has its risks. Much more interesting would have been to have Paul's demo, which partially circulates on Bootleg and apparently no longer exists in its entirety.

9-FOR NO ONE (TAKE 10 / BACKING TRACK)02:21 -NEW
"Take Nine... Ten" the engineers rectify at the beginning. Those that circulate in Bootlegs regarding Take 10 belong to the vocal overdub session. Ringo asks Paul at the end "What do you think?", McCartney replies "I think.." and the tape cuts.

10-YELLOW SUBMARINE (SONGWRITING WORK TAPE / PART 1)01:01 -NEW
John's unknown demo that began as a melancholic composition and would end in a happy song adored by young and old. One of the biggest revelations that this 2022 collection gave us along with the next track that could completely change the stories of who composed what.

11-YELLOW SUBMARINE (SONGWRITING WORK TAPE / PART 2)04:39 -NEW
John's demo now morphs in the studio, alongside Paul, into the foundation that would gradually evolve into the song we all know. At this stage of composition, John asks Paul to sing it and he will only accompany him on the guitar to which McCartney disagrees, that John is the one who knows how to sing it. The lyrics are still in development, although the initial verse is practically complete –with slight differences in some words. Paul joins in on the choruses during "We all live in a yellow submarine" but also interjects the words "Look Out" and "Get Down" during "Yellow submarine, yellow submarine". In total, during this writing session, we can hear four different attempts, two complete and two false starts.

12-YELLOW SUBMARINE (TAKE 4 BEFORE SOUND EFFECTS)02:35 –NEW
The next stage of overdubs onto Take 4 is included here: Ringo's vocals and backing vocals by John, George and Paul, recorded at a different speed -8 seconds faster than we have them in the final version. At the beginning there is four seconds of studio talk and John strumming some chords on his guitar and giving the count-in (as heard in the mix on Rockband, later on Bootlegs), and the ending has no fade-out, we hear the full performance.

13-YELLOW SUBMARINE (HIGHLIGHTED SOUND EFFECTS)03:00 –PARTIALLY NEW
Another track that could have given the space to another song. This is the same version that George Martin gave us on the 'Real Love' CD Single in 1996 as part of 'Anthology 2' in a more unified mix in the sound effects; the only difference from the 1966 version is that it has no fade-in or fade-out so is a second longer at the beginning when the tape started recording the marching sounds and Ringo's spoken introduction to John's poem "Yellow Submarine. And we will march to free the day..”, and sixteen seconds extended towards the end, also with John, Paul and George vocalizing “We, We, Weee” (same as the Rockband mix), and John says "I didn't think that was the end actually".

14-I WANT TO TELL YOU (SPEECH & TAKE 4)01:21 –NEW
This is when you wonders if they really do it for the fans or are they just focused on trying to keep the times on each CD very limited to match the LP releases. George was severely punished on this box with the alternate material from his compositions or they thought that so many versions of “Love You To” was more than enough.
The first 22 seconds correspond to the dialogues prior to Take 1:
George Martin: “What do you call it, George?”
John Lennon: “What’s it called?”
George Harrison: “Oh, got no name”
John Lennon: “Granny Smith Part Friggin’ Two!”
Ringo Starr: “Tell You. That’s a nice title”
John Lennon: ‘You’ve never had a title for anything, except for “Don’t Bother Me” (the final part is blocked by the voice of Emerick)
Geoff Emerick: “Laxton’s Superb” (which is another type of apple, just like the working title of “Love You To” was “Granny Smith”).
Take 4 is announced but only lasts 39 seconds into its performance before being stopped, someone walked in while the red light was on and there is some funny dialogue between Paul and George Martin, however that don’t make up for 39 seconds.

15-HERE, THERE AND EVERYWHERE (TAKE 6)02:27 -PARTIALLY NEW
Released as 'Take 7' on the CD Single 'Real Love' promoting 'Anthology 2', is the same take –contrary to another review that mentions is a different one-, number six which now appears without the vocal harmonies from Take 13 that George Martin combined this version with in 1996. Paul's voice is clearer on Giles' mix and is five seconds longer than the one his father did, including McCartney's count-in.

16-SHE SAID SHE SAID (JOHN'S DEMO)01:08
The many different John's demos for this song have been circulating for years. The first four seconds in this collection come from a first session at home when the song was still called “He Said He Said” and we hear John: “Hello, Helloou, Oke” (they cut the tape before John finishes the word “Okey”) , however in Bootleg we have this same dialog complete with an extended “Okeey” and in better quality. At 00:05 it links with the longer demo that John recorded weeks later and with the lyrics already modified to “She Said”, unfortunately the quality is poor compared to what is circulating in Bootlegs, they applied too much noise reduction filter. Space that could be used in something else maybe.

17- SHE SAID SHE SAID (TAKE 15 / BACKING TRACK REHEARSAL)03:22 -NEW
Backing track recorded during the rehearsal session. Some of the opening dialogue between Ringo, Paul and John comes from Take 2 - we hear the engineer say "Two" - and 3. "She Said She Said" was the last song to be recorded for the album and the dialogues added here reflects the group's need to record an additional song to complete it:
John: "Come on now, Come on Come On!, Last track last track!". Paul: "Keep going, keep going!" and is McCartney himself who gives the count-in for Take 15.

GOOD DAY SUNSHINE ¿?????
The Beatles recorded six takes of the basic track for this song, all of which survive and are described in the book that accompanies this release, take one was selected for the overdubs; but it seems that Giles was not satisfied with any alternate take or overdubs and left this song off the Outtakes disks in favor of other songs with too few differences or too many repeats against previous official releases, which seems like a strange decision since in the Anniversary box set of 'The Beatles AKA The White Album', having no extra alternate takes – “Dear Prudence” for example-, they decided to give us some channel mixes or without fading in or out, so all songs could be present, they could have done the same here.

DISC 4- MONO MIX
It does not present any difference and this mix has been very well documented for many years with each of its variations. We save space.

DISC 5 EP- STEREO MIX 2022
1-PAPERBACK WRITER
The drums are surprisingly clear compared to the original mix. One of the best achieved in this 2022 although there are certain elements in George Martin's mix panned to the right or left channel that we were used to that are no longer audible in the 2022 versions or have been mixed to the "center". Same case with “Rain”.

2-RAIN
Is a second shorter than the original stereo version where you can hear on the right channel during the fade-out at 02:59 a very hidden “Rainnnn” that is no longer present here, coming from the vocal harmonies, exactly at end of John's backwards vocals.
A total waste of space for a CD with only 10 minutes and 51 seconds (just to unify the LP version with a Bonus EP), which could well be included on CD 4 and make the box more accessible to fans and whoever wants an EP can purchase the vinyl version.

https://forum.beatlegdb.com/viewtopic.php?p=74176#p74176

Действительно. С ней только предстоит разобраться, потому как на данный момент слишком мало исходных данных. Надеюсь, все прояснится. Ждать осталось недолго.

2MikeGear:

>Действительно. С ней только предстоит разобраться,
>потому как на данный момент слишком мало исходных
>данных. Надеюсь, все прояснится. Ждать осталось недолго.

С кем с ней разобраться?

John's unknown demo of Yellow Submarine.

То, что Пол до сих пор молчал об авторском вкладе Джона в сочинение Yellow Submarine, ИМХО, не делает ему чести. Хотя он мог и забыть о том, что куплетная форма и самая первая строчка на самом деле пришли от Леннона. История о том, как Макке приснилась идея жёлтой подлодки вполне может быть правдой, а значит он мог предложить соавтору вариант развития его изначальной идеи, и вот уже сентиментальная песенка о том, как в родном городе Джона всем было наплевать на его явление в этот мир, превращается в детскую историю о моряке, что ходил по морям и возвращался оттуда с необычайными байками (отсылка к Фредди Леннону?).

Песня состоит из двух частей, об этом Пол и Джон говорили в интервью в 1967 г. http://www.beatlesinterviews.org/db1967.0320IN.beatles.html

Идея самой желтой подлодки однозначно идея Пола!

Насчет того, что Пол некрасиво себя вел...

JOHN 1972: "Paul wrote the catchy chorus. I helped with the blunderbuss bit."

JOHN 1980: "'Yellow Submarine' is Paul's baby. Donovan helped with the lyrics. I helped with the lyrics too. We virtually made the track come alive in the studio, but based on Paul's inspiration. Paul's idea. Paul's title... written for Ringo."

GEORGE 1999: "Paul came up with the concept of 'Yellow Submarine.' All I know is just that every time we'd all get around the piano with guitars and start listening to it and arranging it into a record, we'd all fool about. As I said, John's doing the voice that sounds like someone talking down a tube or ship's funnel as they do in the merchant marine. (laughs) And on the final track there's actually that very small party happening! As I seem to remember, there's a few screams and what sounds like small crowd noises in the background."


А это из книги к Делюксу:

Yellow Submarine’ is another example of
John and Paul each bringing fragments of
songs to a writing session and combining
them into one piece. They talked about the
composition’s genesis in an interview for
a radio show celebrating winners of the
prestigious Ivor Novello Awards for songs
published in 1966. ‘I seem to remember, like,
the submarine… the chorus bit, you coming
in with it,’ John said to Paul. ‘And wasn’t
the other bit something that I had already
going, and we put them together?’ ‘Right.
Yeah,’ Paul agreed. A songwriting work tape
reveals that John had written the melody
used for the verses, but his original sombre
words – ‘In the town where I was born / No
one cared, no one cared’ – were adapted
(CD Sessions Two Track 10 / LP Sessions
Side Four Track 2). It also shows that once
John and Paul had changed the words to
match the catchy chorus, at this stage they
had only two of the three verses that were
needed (CD Sessions Two Track 11 / LP
Sessions Side Four Track 3)

Ах, вон оно что! Тоже самое уже происходило не раз, яркий пример тому Lucy in the sky with diamonds и Baby you`re a rich man, когда к основной части песни Джона Пол добавлял запоминающийся припев. Тандем Lennon-McCartney во всей красе.

2Corvin:

>А чего все молчат по поводу Yellow Submarine
>в исполнении Джона, вот это бомба.

___Испытываю когнитивный диссонанс что называется - (november 2022)
ещё не наступил, а уже все послушали-обсуждают)))
Навскидку - не нашёл никак этого трека, как все тут исхитрились - обсуждают ссылок не дают

2ledzep:

>ссылок не дают

Вот вам ссылка: https://demonoid.is/files/details/573208/066018232/?highlight=revolver

2Стас:

)))мне стоило только спросить! Спасибо!
...Да я по жизни, "стесняюсь" спрашивать

2ledzep:

>Спасибо!

Всегда пожалуйста! Ждём теперь ваше мнение о демке Yellow Submarine, да и о других бонус треках :)

2Макс Жолобов:
Убрал бас, вот что вышло: https://disk.yandex.ru/d/Ieeg-8td36lFRA
Всё равно как-то уж очень быстро звучит по ощущению.
Выходит, Битлз сразу знали, что будут замедлять ритм-трек, поэтому играли в таком бешеном темпе?

>Быстрая версия Rain хороша, но бас-гитару из
>микса следовало убрать: её добавили позднее, и
>писали уже на замедленную фонограмму. В ускоренном
>виде она звучит неестественно. То же и в отношении
>быстрой Yellow Submarine: вокалы писались поверх
>замедленной фонограммы. И раз уж вы хотите показать
>нам, как изначально звучал бэкинг-трек, уберите
>эти буратинские голоса.

2neboslov:

>Всё равно как-то уж очень быстро звучит по ощущению.

Мне тоже слышится, что партия ударных в таком темпе и с таким сложным рисунком нетипична для Ринго. Скорее всего, сыграли где-то "посередине": не так быстро, как в только что опубликованном сессионном дубле, но и не настолько медленно, как в завершённой версии для сингла.


>Выходит, Битлз сразу знали, что будут замедлять
>ритм-трек, поэтому играли в таком бешеном темпе?

Они с первого же дня записи альбома начали химичить со скоростями (базовый луп для Mark 1 намеренно сыгран быстрее, чтобы затем замедлить его в два раза), так что к 14 апреля уже вполне могли быть готовыми и к новому эксперименту в этой области.

Abbey Road Studios сегодня

Abbey Road Studios сегодня

Abbey Road Studios сегодня

Вот этот микс у папы Джорджа вышел получше версии сына Джайлса... Без подпевок эта песня не совсем не звучит!