The Beatles Cd - Unsurpassed Masters Vol. 6 (1962-1969)

The Beatles Cd - Unsurpassed Masters Vol. 6 (1962-1969)
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The Beatles Cd - Unsurpassed Masters Vol. 6 (1962-1969)

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W3Schools.com

I Saw Her Standing There (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 3 11 Feb 1963 SS.PPM.01.03 The Beatles Edit Piece 10:00 AM-1:00 PM session

Take Three - At this point it is probably agreed that either take one or take two will be chosen for inclusion on the album (presumably take one). Hence, the recording of this edit piece, taken from the first repeat of the line "Woah, since I saw her standing there. ." at the song's ending. This edit piece, however, was never used. 3. From Me To You (Lennon/McCartney) 2:16 Take 6, 7 5 Mar 1963

The Beatles Take Six - A quick break down. Take Seven - This take is, for the most part, the commercially released version of the song. It's a little too slow on this CD (as most tracks are.)

Pitch correction: +3.0% 4. Thank You Girl (Lennon/McCartney) 2:12 Take 1 5 Mar 1963

The Beatles Take One - Some warm up sounds fill Number 2 before Take One proper begins. John paractices the "Oh! Oh!" introduction of the song. Paul makes a last minute comment, "Same as we do. . ."The take begins. Paul counts in. On this take, John and Paul sing "And all I WANNA do is thank you, girl. . ." as opposed to "Gotta." Also different is that both of them sing "That's the kind of love that SEEMS to good to be true. ." Slight differences also exist in the brief two-bar break between stanzas where the harmonica is normally heard, preceding the singing of "Oh! Oh! (which actually sounds like Ow! Ow!)" Here, John and Paul are singing "Oh! Oh!" as well. The same practice is implemented after the final stanza.Also absent are the familiar drum fillers present at the end of the commercial release.

Pitch correction: +3.3% 5. Don't Bother Me (Harrison) 2:51 Take 10 12 Sep 1963

The Beatles Take Ten - Lead Guitarist for The Beatles George Harrison is heard demonstrating and discussing some timing structures as the session tape kicks on: ". .No, that stays. . ." The voice of Engineer Norman Smith makes it official: "Don't Bother Me. .This is remake. .We're calling it Take 10." The take begins. This run-through is complete, yet clearly not releasable. George's voice, for instance, is off-key in places, particularly towards the end of the second stanza, on the lines "I've got no time for you right now, don't bother me. ." Overall, his vocal performance is shakey. Timing, too, is a problem with this take, especially as the song heads toward the finish. As the take is ending. George is singing, "Oh yeah, Rock and Roll Now, Oh yeah. . ."

Pitch correction: +2.4% 6. A Hard Day's Night (Lennon/McCartney) 2:37 Take 3b 16 Apr 1964 SS.AHDN.01.03 The Beatles Take Three - This third attempt at the song that would eventually be the title-track of their forthcoming film is not unlike take one. It is complete, perhaps slightly slower than the released version. As the boys bring the song into the middle-eight, Paul McCartney sounds as if he's singing either "In I'm home. . ." or "And I'm home. ." instead of the familiar "When I'm home. . ." Paul also sings ". .Feeling you holding me ti - i - i -ght. ." eliminating the line "All through the night." George Harrison's solo, though not particularly intricate by any means, is played sloppily. To compound the shakiness of this take, John and Paul are singing two different lines coming out of the solo. The signature guitar passages at the song's conclusion are very tense and choppy. Paul laughs, "What's that?"

Pitch correction: +2.6% 7. I'm A Loser (Lennon/McCartney) 2:29 Take 1, 2 14 Aug 1964

The Beatles Take One - The ominous voice fills the studio: "I'm A Loser, Take One." Paul begins with his count-in, "1, 2. . . 1, 2. . ." and the take starts. It quickly aborts after Paul explains to John that he's "stopping at 1, 2. . 'cause that's where you'll come in with the mouth organ." They begin Take One again after another Paul count-in. This second attempt at Take 1 quickly breaks down with Paul saying, "Stop. .I'd forgot. ." Take Two - Norman Smith again fills the air: "Two!" This take starts without a hitch. At this point in the song's evolution, the structure is different. The song begins with a bar of open acoustic guitar strumming, accompanied by some electric guitar chordal phrasing before John and Paul harmonize one time on the line "I'm A Loser." After singing the song's title one time, the song goes right into the verse. Paul, at this point, is attempting to harmonize on the line "And I'm Not What I appear to be." He is slightly out-of-synch with John, and perhaps, a little off-key at first. John also sings: "Behind this mask" instead of the familiar "Beneath this mask." The break is void of mouth-organ at this point. A close listen reveals Paul mimicking the sound of an harmonica over the break. After the third stanza, John and Paul repeat the lines, "I'm A Loser" over again, with Paul adding a higher harmony on the line's third repetition. Almost complete, the take breaks down apparently because there was no determinative way of ending the song. After a couple of falsetto spurts from John (which ends the take) Paul proclaims, "Well, there's a frayed edge for you. . ."

Pitch correction: +4.3% 8. She's A Woman (Lennon/McCartney) 3:24 Take 2 8 Oct 1964

The Beatles Take Two - This is the second take of a new Paul McCartney song, destined to share space on the next Beatles' single. Beatles' producer George Martin announces that this is, indeed, the second take as the band does a practice run of the song's intro. Paul: "Okay?" John: "Okay." The take begins. During the second stanza, Ringo changes hi-hat patterns, mid-verse. Paul starts to laugh on the line "Only ever has to give me, love forever and forver. ." after a slight vocal strain on the word "love." At this point, there is no solo.The chord sequences become a little sloppier after the solo break, the Beatles perhaps realizing that this, in fact, would NOT be the final take.The song's ending has obviously not been worked out completely at this point as the fluency is hesitant and unsure.

Pitch correction: +2.0% 9. If You've Got Trouble (Lennon/McCartney) 2:23 Take 1 Sessions 18 Feb 1965

The Beatles SESSIONS edited remix. Mono for some unknown reason.

Pitch correction: +1.4% Help! (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 8 Breakdown 13 Apr 1965 SS.HLP.01.08 The Beatles Instrumental. Breakdown.

By this time in The Beatles' recording career, it had become quite commonplace to record the basic backing track first, then over-dub vocals and other instruments afterwards. Take Eight - A quick breakdown.

Pitch correction: +4.4%



Help! (Lennon/McCartney)

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-------------------------------------------------------------------------------- Take 9 13 Apr 1965 SS.HLP.01.09 The Beatles Vocal superimposition.

By this time in The Beatles' recording career, it had become quite commonplace to record the basic backing track first, then over-dub vocals and other instruments afterwards.

Take Nine - This take is the one used for the overdubbing of vocals and eventually George's guitar. When these vocals are overdubbed, this take is not renumbered Take 10. It remains Take 9 at this point. It is interesting to point out that at this stage, John also recorded a second vocal (presumably for the purpose of double-tracking his vocal part).

Pitch correction: +4.4%



11. Here, There And Everywhere (Lennon/McCartney) 2:09 Take 14 16 Jun 1966

The Beatles Take 14 remix, external.

Pitch correction: +2.7% 12. I Am The Walrus (Lennon/McCartney) 1:52 Take 7 Breakdown 5 Sep 1967

The Beatles Take 7, external, instrumental.

Pitch correction: -2.2% 13. Ob-La-Di, Ob-La-Da (Lennon/McCartney) 2:39 Alternate Version (date unknown)

The Beatles "Sessions" mix.

The end is edited to avoid the segue into "Xmas Time Is Here Again"

Pitch correction: -3.3% Hey Jude (Lennon/McCartney)

Take 8 30 Jul 1968

The Beatles End of take 8

Pitch correction: +3.5% Hey Jude (Lennon/McCartney)

Take 9 30 Jul 1968

The Beatles take 9

Pitch correction: +3.5% 15. Not Guilty (Harrison) 3:20 Alternate Version (date unknown)

The Beatles Stereo. "Sessions" mix.

Pitch correction: +1.2% 16. Let It Be (Lennon/McCartney) 3:47 Take 30 RS1 4 Jan 1970

The Beatles Take 30 (overdubs recorded on 31 Jan 1969 version), RS1, 4 jan 1970

Pitch correction: none. 17. Because (Lennon/McCartney) 2:16

-------------------------------------------------------------------------------- Take 16 Vocal Track 1 Aug 1969

The Beatles Vocals tracks only (A capella). Overdubs recorded for Take 16

Pitch correction: +2.3%. 18. Mailman, Bring Me No More Blues (Roberts/Katz/Clayton) 1:55 Get Back Session Jan 1969

The Beatles From "Sessions"

Pitch correction: -0.5% 19. What's The New Mary Jane? (Lennon/McCartney) 6:12 Alternate Take (date unknown)

The Beatles Stereo. "Sessions" mix.

Pitch correction: +1.0%