Beatles Cd - Back-Track Part 3

Beatles Cd  - Back-Track Part 3
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Beatles Cd  - Back-Track Part 3
1. Do You Want To Know A Secret (Lennon/McCartney)

Take 8 11 Feb 1963

The Beatles Recorded Feb. 11, 1963, take 8, track 2 opens with John and Paul asking George Martin for instructions on where to place the "do-dahs" during the chorus. A complete run-through follows, with George Harrison's lead vocal still single-tracked at this stage. 2. A Taste Of Honey (Marlow/Scott)

Take 7 11 Feb 1963 SS.PPM.12.07.RM? The Beatles Recorded Feb. 11, 1963, this version features an unreleased mono mix completed 2/25/63. Take 7, track 2 has Paul's vocal double-tracked, slightly out of synchronization, to provide a fuller sound. 3. I Saw Her Standing There (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 10 11 Feb 1963 SS.PPM.01.10 The Beatles Handclap overdubs onto take 9, track 2 2:30PM-6:30PM session

Listed as "Seventeen". Take 10, presented here, is a complete run-through performed live at EMI studios Feb. 11, 1963. George Martin took portions of takes 9 and 11 to produce the final incarnation, "I Saw Her Standing There." 4. There's A Place (Lennon/McCartney)

Take 11 11 Feb 1963

The Beatles Recorded live in the studio Feb. 11, 1963, take 11 has no overdubs and is much faster paced than the more familiar take 13 (judged best by George Martin). 5. You're Going To Lose That Girl (Lennon/McCartney)

Take 3 19 Feb 1965

The Beatles Beginning with a count from George, take 3, recorded Feb. 19, 1965, at the start of the "Help!" sessions, contains no reverb or electronic effects, and the bongo track runs throughout. 6. I Need You (Harrison)

Take 5 15 Feb 1965

The Beatles Started on Feb. 15, 1965, and completed the next day, take 5, presented here, is a previously unreleased stereo mix. The absence of all reverb and other studio effects allows George to bring his tone pedal "wah-wah" guitar far forward to the right channel on this mix. 7. Yes It Is (Lennon/McCartney)

Take 14 16 Feb 1965

The Beatles Take 14, recorded on Feb. 16, 1965. This recording, presented here, prior to the final overdubs of "live" harmony, again features George Harrison's newly acquired tone pedal for guitar. 8. 12-Bar Original (Lennon/McCartney/Harrison/Starkey)

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-------------------------------------------------------------------------------- Take 2 4 Nov 1965 SS.ETC.10.02 The Beatles Take 2 is a 6:36 performance. This was recorded live without overdubs and some instruments are hidden in the background. The take 2 that surfaced is in very poor quality although it's found on stereo on some bootlegs.

Never released, this was the Beatles' first attempt at recording an entire instrumental after reaching world-wide fame. Take 2, recorded live without overdubs Nov. 4, 1965, was mixed down and transferred to reference disc Nov. 30, 1965 (hence the surface noise present). This is the only known surviving recording of the Beatles' attempt at the blues a la Rolling Stones. 9. Strawberry Fields Forever (Lennon/McCartney)

Acoustic Demo (date unknown)

The Beatles Released on Anthology 2 as track 1 (disc 2).

By the mid-60's, all the Beatles owned home tape machines which allowed them to put down ideas that would later prove invaluable back at EMI. In early November 1966, John began work on what would later evolve into arguably his most ambitious recording to date. Presented here are John's four original home demos. Strawberry Fields Forever (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 1 24 Nov 1966 SS.MMT.08.01 The wonderful take 1 ...

The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 2 28 Nov 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 3 28 Nov 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 4 28 Nov 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 5 29 Nov 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 7 29 Nov 1966 SS.MMT.08.07 The Beatles Reduction from take 6.

The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 25 15 Dec 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. Strawberry Fields Forever (Lennon/McCartney)

Take 26 15 Dec 1966

The Beatles The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. 11. Across The Universe (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 8 RM2 ('Hums Wild') 8 Feb 1968 SS.PM2.13.08.RM2 An alternate mix with the extracts of the ' Hums Wild' Sounds effect recorded on the 04 Feb 1968 edited in. No Orchestration or Animal Sounds at this stage . The take on some discs is preceeded by John saying "You're right, Richie" and two exhales.

Was originally planned for single release. This early mix has backward guitar sounds and differs from both the "Wildlife" and "Let It Be" versions.

Listed as "Take 7, recorded on Feb. 4, 1968, ". This is in facr Take 8 RM2. (Take 7 has no backward guitar). 12. Lady Madonna (Lennon/McCartney)

Take 3 3 Feb 1968

The Beatles An early raw version (take 3) recorded Feb. 3, 1968, live in the studio with an attempted vocal overdub, aborted seconds into the take. 13. Not Guilty (Harrison)

Take 99 8 Aug 1968

The Beatles Take 99, recorded Aug. 8, 1968, during the "White Album" sessions. This is the complete unedited stereo mix, running several minutes longer than all other known versions. George sings lead. 14. What's The New Mary Jane? (Lennon/McCartney)

Take 4 14 Aug 1968

The Beatles Take 4, recorded Aug. 14, 1968. This recording is unique in that John's vocals are single-tracked, without the "echo" effect predominant on other known versions. At the end you will hear John exclaim, "Let's hear it back before they come to take us away." 15. A Case Of The Blues (Lennon)

Acoustic Demo Dec 1968

The Beatles Another Lennon home demo recorded during December of 1968. Written between the "White Album" and "Get Back" sessions, no known studio take exists. 16. Because (Lennon/McCartney)

Take 16 Vocal Track 1 Aug 1969

The Beatles Vocal version of 'Because'. Beethoven's Piano Sonata in C Sharp Minor, Opus 27 No. 2, provided the inspiration for this track (when played back to front!). Take 23 spotlights the beautiful three-part harmonies of John, Paul and George in this outtake vocal track