Beatles (5/Cd) Four Sides Of The Circle

The Beatles’ revolver has become a new era album that uniquely identifies what it was. The music nature of the Beatles that extended the Oldies of the 50’s left the residue up to around “BEATLES FOR SALE”, the treatment of the world is idle, and actually “HELP” has “four people The idol “is given to the title. But the high artistic glimpse of that “HELP” was deepened with “RUBBER SOUL”, indicating that the Beatles were becoming an existence that does not fit within the idol category of one. Until then, I had been doing a tour in parallel with recording, but after stopping the tour in 1966, I will combine the styling of studio work and make ‘Sargent Peppers’. This album gets a high reputation both inside and outside, but it seems that “revolver” was the reason for its production. Indeed there are also reasons for time, but there are many songs that are difficult to reproduce on the stage with the technology at the time, without having played one song from the “revolver” at the stage. The “Paperback · Writer” which was the same period recording that was only released as a single was only played on the 1966 tour, “Rain” on the reverse side uses reverse rotation of the tape It was impossible. The Beatles must have perceived the real pleasure and entertainment of studio production with ‘revolver’. It should have thought that if it takes more time it will be able to create a more dense album. That was connected to Sargent Pepper’s discontinuance of the tour activity afterwards. The album at the time when it is a branch point of album production parallel to the tour and album production which staged in the studio is “revolver”. This work is a title that recorded outtakes and various versions.

【PAPERBACK WRITER】 Recording of ‘Revolver’ was held for about two and a half months from April 6, 1966. The first thing that was undertaken is the single-sided facet of the 12th Beatles ‘Paperback Writer’ and ‘Rain’. This song was the first song to introduce a loudspeaker that emphasizes the baseline, and Paul’s bass was the key to the Beatles sound with this song as the boundary. Takes 1 and 2 for the session on April 13. Take 1 is a breakdown with Paul’s misunderstanding “OK, Go!”. It is recorded here that George and Ringo are also expressing opinions to Paul in the studio. Take 2 is complete, but devoted to playing without vocals. I hear the singing that “Paipaba ~” of the break part is singing with pale silhouette thinly. During the session on April 14th, work is being carried out on vocals and chorus on the backing recorded two days ago. Paul ‘s vocals are recorded separately twice, and finally it is a finished version by overlapping it. In this work, each of the two vocals is separately recorded. Because the chorus has been recorded in the same process, it sounds quite clear, such as John ‘s voice. The vocals and chorus recorded separately this time were superimposed on the track 7 and it became solid by the 4 × 2 8 Beatles.

【RAIN】 “Painback Writer” on the same day as “Rain” has also been recorded. This song is known for songwriting John ‘s lazy singing and it is the first time that mysterious effect sounds using reverse rotation of the tape are scattered around everywhere. As for listening, John’s main vocal is not included, it will be take 5 of only the chorus part. Unlike that naughty vocal, I can understand that the backing voice of John of back and chorus supports this song on the back. Although backing aimed at the effect that slows down the tape speed and slows down, the vocal was recorded by raising the tape speed intentionally rather than at the time of recording and overlapping them, in addition to the reverse rotation of the tape, it is completed by a complicated method I think that I want you to feel a part of it with this work. Although apple himself’s best play and self-praising drum’s evaluation is a high song, at the same time Paul’s base is also wonderfully ingenious, as if it is lead-based.

【TAXMAN】 It is unusual for George’s song to decorate the beginning of the album. “Revolver” is noted for the first time that three songs of George’s work are recorded. John and Paul would have recognized the talent of George who was late. The content of the lyrics is sarcastic, like George’s walking down the town is taxed to the feet. Securing social security expenses is a political issue in Japan where the aging of the population continues, but the Wilson administration in the UK in the 1960s has already imposed a high tax rate on rich people to expand social security expenditures at this time, The names of politicians such as Wilson and Heath are included in the chorus. Recording began on April 21st. In “Paperback Writer”, vocal and chorus were recorded twice separately to create superb vocal effects by overlapping them, but “Taxman” introduces technology called Artificial Double Tracking (ADT) for the first time . This is an epoch-making thing which obtains the same effect by superposing the same sound sour

【ELEANOR RIGBY】 It is the song which became the single of the Beatles 13 songs following “Paperback Writer / Rain”. It is a glimpse of the power relationship at this time in the band that releases a song that is not a rock, and a real Paul’s solo song as a single. Paul is playing this song preference likewise in the current live, but at that time it is reproduced only with the keyboard of Wicks and later with the chorus only. Paul took the vocal so far, John and George chorus. The apple is not participating in the recording. The accompaniment was only string octets, and the score was taken by George Martin. It was said that there was a request from Paul with feeling like Vivaldi “Four Seasons”. Indeed I have a cold atmosphere to remember “winter” of the “four seasons”. Track 1 is a demonstration sound source where Paul is playing the guitar and singing. Although the source is unknown, Paul would have recorded at home to let everyone listen. Paul was still skeptical of the ADT used by George and John. In “Eleanor Rigby” Paul sang the vocals quite a bit. In this work, you can enjoy the singing voice of vocal pole of single vocal.

【I’M ONLY SLEEPING】 This song is also known as “Rain” and reverse rotation of the tape is used as a sound effect. In common with “Rain” is that it aimed at a feeling of bad mood, especially in this song it is consistent with the title. Take 1 is Akogi and John is singing vigorously against the title. Rather, George of the chorus looks sleepy. Take 2 is somewhat close to the release · version but there is still nothing to fall asleep, it will be interrupted on the way. Truck 14 is a new vocal superimposed on take 11, and it is still single vocal. When this becomes Take 13, it seems to be a chaotic atmosphere close to the final version, but it still receives the impression of being refreshed with no tape reverse rotation. John ‘s insistence can be seen where he seasoned further without making it complete. Indian style guitar is superimposed on the ending, which is the sticky note of “Love You Too” as it is.

【LOVE YOU TO】 Like the “Eleanor Rigby”, the Beatles are not participating in the performance, inviting external musicians. It is all Indian instruments such as Tabla and Sitar which are the Indian musical instruments that will give George ‘s lifetime, and it is George, not to mention the main vocal. In this work we recorded take 7 that was recorded on April 13.

【HERE THERE AND EVERY WHERE】 Takes 1, 4, and 5 that were recorded on May 26 are recorded. Take 1 is a pole mellow sweet vocal on the front. It is a finish like a demonstration sound source singing quite carefully. Horn classes are not yet granted. Take 4 is a harmony track. Take 14 is a pile of vocals superimposed on take 13. It is very beautiful vocal while quietly making use of falsetto. Take 14 is still a single vocal, recording a different vocal to overlay on June 17. That is the track 24. It makes a lively vocalization with a voice that is relatively close to the voicel for the first vocal and you can inquire about the intention of Paul singing by changing the voice tone.

【YELLOW SUBMARINE】 Not only the Beatles era, but also representative songs of apple. “Eleanor Rigby” is a title song of animation movie released as a single in both A-side treatment. Credits are traditionally Lennon McCartney, but it is a song of Real Paul. The session of May 26th, Take 1 is recorded with the conversation of George, John, and apple. As George says “Maru!”, It is consistent with the record that Roddy’s Mar also participated in the recording. Take 4 started by John’s count, the cutting of the guitar is very simple and it is an orchestra recording before singing. The following take 5 is an apple vocal track. The apple is singing simple by himself, and the chorus is also a live song without dubbing being superimposed. Track 34 is a truck with a drunk sailor-like John’s hand. In the session on June 1, the date changed, an apple story was added to the intro. Track 36 is the sound effect track added to the song. Take 5 earlier is the basis, and chorus and sound effects are superimposed and it is the last version. Tracks 37 to 41 contain the process of overlapping recorded tracks. The following brass section was recorded on June 2nd.

【SHE SAID SHE SAID】 It is a mysterious song of John whose influence of drag comes out to Moro. Episode that Peter said “I know what death is,” when John tried with an actor Peter Fonda and dragged and John interrupted it as “I do not want to know that” Is the origin of the song. Although the title was “She”, although the word sense might have been good, there was also the purpose to hide Peter Fonda (= He). Because there were quarrels between the members at the time of recording, Paul was defiantly leaving the studio, so there was an episode that the recording was done by three people except Paul. While the “Taxman” guitar was in charge of Paul, George was playing the base of this song. First recorded is a demonstration sound source of John alone playing Akogi. Melody is also incomplete one that is similar to the final version. The lyrics are still “He”. It is interesting that John tried and error, changing the tempo, changing the melody and changing the singing voice.

【GOOD DAY SUNSHINE】 It is a rare and unusually recorded song in “Revolver”, Paul is singing while playing the piano, the other members are only chorus participants. Paul became a solo and re-recorded with the movie “Broad Street”, and he is performing for the first time on stage at the 1989 getback tour. However, George Martin is playing only interlude.

【AND YOUR BIRD CAN SING】 It is a masterpiece full of running performance. Impressive twin guitar played from the intro is performed by George and Paul. In the session on April 20th, dubbing is overlapped on take 2. John is singing relatively seriously, and it is a pretty interesting take, such as putting a break in the part of “Mi” which becomes a texture of rust. George is a frustrating guitar solo to the ending. Anyway George and Paul’s twin guitar are the songs of the listening place, so it seems that the guitar has been recorded with several copies. It is very interesting such as interlude guitar solo and so on. Also, the take that all the members recorded also in the anthology laughs out is the one at the time of vocal recording to take 2 of this day. The anthology’s commentary stated “There was something interesting”, but this is a typical symptom after aspiration of marijuana, hiding in George Martin and sucking in the studio with everyone I guess. In the session of April 26, this song’s re-recording is done again. Take 10 contains the guitar cutting by John. And attention is track 36. John’s vocal track is single, it is a wonderful take that is singing in a lively voice. Although it is inferior in terms of thickness as compared with the next ADT vocal, even with no instruments, it is a singing enough that songs’ charm is transmitted sufficiently only with John’s vocals.

【FOR NO ONE】 “Here There And Everywhere” in addition to mentioning that John is Paul’s favorite song masterpieces. Although it may not have been able to spend time in the session which members gathered, since this song is basically Paul alone recording with piano, the appearance that the take repeatedly is recorded is recorded ing. The session on May 9 is overlapping piano phrases that are the core of the song from take 1 to take 9. Because only the piano and drums are playing, only two of Paul and Ringo are in the studio. The final adoption was take 10. On track 11 you can listen to vocals of raw poles without processing. Impressive French horn has not been added yet, it is a very simple pole playing. The French horn contains two versions, one in which it became bogged and one adopted.

【DOCTOR ROBERT】 It is said that John sang a doctor prescribing drugs. It is a song of the Beatles royal road pattern that John ‘s vocal runs to an intense guitar riff and Paul’ s chorus follows. Although the songs themselves may be mediocrity, there is a part like the breath of Middle, so that the songs are sharp and have a good masterpiece. In track 16, there is a part not included in the release version in the ending, and the end of the song is also different and interesting. I still have not decided how to do the ending, it ended mistakenly, and it seems that John is saying “OK …” to the members.

【I WANT TO TELL YOU】 It was a song selected for opening number in George ‘s Japan tour in 1991. In the live it was sung as “WANNA”. Track 19 is a short story of the studio during the recording of this song.

【GOT TO GET YOU INTO MY LIFE】 In a song including a flashy horn section, Paul likes even his own solo tour, including Wings’ era, and especially the 1979 tour is decorating the opening. It is a song which should also be said as a brush lock of the Brass Rock which will be sweeping the United States later. Take 5 is a simple working version also included in the anthology, and lyrics not included in the final version are also included, and differences in song composition are also seen. Featured is another vocal recorded on June 20. It is impressive that Paul is singing lively as the tempo is accelerated from the final version.

【TOMORROW NEVER KNOWS】 John ‘s “Tomorrow Never Knows” is the perfect chaos word to decorate the last album. It is a song that embodied the pioneering of the Beatles full of John’s vocals, extremely processed vocals, a number of sound effects and sound reversal of tape, all of which John’s view of the world is impossible for Paul. I am amazed by the speed of the growth of the Beatles that arrives at such a point in just a few years since the days when he played Oldies style rock and roll. Take 1 is a vocal effect that you can dare to hear from AM Radio in line with a monotonous code, and John is singing indiscriminately. It will be a singing turn that intentionally kept intonation. Take 3 that was recorded on April 27 has no effect on John’s vocals and is a live song. Sound effects etc. close to the final version are added at this point. It can be said that it plays the role of trailer to foresee the next Sargent Peppers.

【ALTERNATE MIXES & WORLDWIDE VARIATIONS】 As the times of the Beatles’ album have been moderate, it is known that there are many mix differences among countries around the world. For famous ones, UK MATRIX 1’s “Tomorrow Never Knows” etc may be totally different things. It is the last disk that gathered mix differences of such worldwide boards. Listening and listening in this way will be surprised as to whether it is different even though it is the same song.

【FOUR SIDES OF THE CIRCLE】 The album “REVOLVER” was already completed at the time of the Japanese performance at the end of June 1966, as you can see from the date of recording. However, because it used a complex studio effect, what actually was played on the stage is only one song of “Paperback Writer” released in single. Paul is playing at the stage since Paul became his own solo in the later years is largely based on the development of the equipment, but not only that but Paul is playing solo concerts on all this track Even by looking at it, it would be a proof that this was the time when Paul talent was the most fulfilling period. The album / artwork was also trial-and-error, initially a collage of the Beatles’ photographs in a circle was nominated, and the title was “FOUR SIDES OF THE CIRCLE” (4 sides of the circle) and word play and “ABRACADABRA” A title which imagined chaos was considered, such as. There is also an urban legend that the title of the album finished recording was not determined at all and the inspiration was inspired by a rotary pistol carried by a security guard in Japan. After all, album · jacket was handled by old-fashioned Klaus Bohman. Its workmanship is wonderful, and we will ask again the artwork of “Anthology” later. This work is a compiled title of this “REVOLVER” studio session. Permanent preservation of a beautiful picture disk specification A tightly pressed board.

DISC ONE [PAPERBACK WRITER] April 13, 1966 01. Take 1 (breakdown / Source 1) 02. Take 1 (breakdown / Source 2) 03. Take 2 (complete backing track)

April 14, 1966 Overdubs onto Take 2 04. First Lead Vocal & Backings + Guitar fills 05. Bass SI (multitrack) 06. Second Lead Vocal & Backings vocals 07. Mixdown full Take with organ SI 08. RM

October 31, 1966 09. RS from Acetate

MULTITRACKS 10. Separation process 11. All Vocals 12. Instrumental

【RAIN】 April 14, 1966 13. Take 4 (monitor mix – partial)

April 16, 1966 14. Take 5 Lead vocal + Bass SI 15. Backwards Tape 16. Take 5 Tambourine + extra vocals SI 17. Backing vocals overdubs Onto Take 6 18. Take 7 19. RM 3

MULTITRACKS 20. George Martin on Backwards Tape 21. Drums on front

【TAXMAN】 April 21, 1966 22. Take 11 Single vocal track (partial) 23. Take 11 ADT vocal 24. Lead Guitar + Tambourine SI 25. More Guitar + Backing vocals SI 26. Take 11 with Overdubs

April 22, 1966 27. Reduction Take 12 28. Backing vocals remake SI

May 16, 1966 29. Intro SI 30. RM 4

June 21, 1966 31. RM 5 & 6 Edit 32. RS 1 & 2 Edit

MULTITRACKS 33. Tape Process 34. Instrumental

DISC TWO 【ELEANOR RIGBY】 01. Demo

April 28, 1966 02. Between Takes 1 & 2 (partial) 03. Take 14

April 29, 1966 04. Take 15 Single vocal track 05. Take 15 Paul vocal overdub 06. John & George Backing SI

June 6, 1966 07. Paul Third vocal SI 08 . Paul Fourth vocal SI

June 7, 1966 09. Acetate test mix

【I’M ONLY SLEEPING】 April 29, 1966 (remake session) 10. Rehearsal 11. Take 1 12. Take 2 (breakdown)

April 27 & May 5, 1966 13. Take 11 with SI

May 6, 1966 14. Vocals SI on Take 11 15. Vocal overdubs w / Guitar SI

May 12, 1966 16. Take 13 RM 5

May 20, 1966 17. Take 13 RS 1 18. Take 13 RS 2 19. Take 13 RM 6

【LOVE YOU TO】 April 13, 1966 20. Take 7 RM 1, 2 & 3 (longer)

【HERE, THERE AND EVERYWHERE】 June 16, 1966 21. Take 7 & Vocal SI from Take 13 22. Take 13 Harmonies SI (partial) 23. Take 14 (Take 13 with vocal SI)

June 17, 1966 24. Second Paul vocal & Lead Guitar SI

Monitor Mixes from Take 14 25. Composite # 1 26. Composite # 2 27. Off Line # 1 28. Off Line # 2 29 .. Off Line # 3 30. Off Line # 4

【YELLOW SUBMARINE】 May 26, 1966 31. Take 1 (partial) 32. Take 4 (complete) 33. Take 5 Vocals Inserts SI # 1 & # 2 34. Take 5 John Vocal Insert SI

June 1, 1966 35. Spoken Intro (partial) 36. Sound & vocal effects

OVERDUBS ONTO TAKE 5 37. Paul backing vocal SI 38. Additional Backing Vocals SI 39. Backing Vocals with Mal on Bass Drum 40. All vocal tracks (multitrack) 41. Take 5 Alternate Sound effects Mix

DISC THREE 【YELLOW SUBMARINE】 June 2, 1966 01. Rough Remix 1 different Brass tape

June 3, 1966 02. Final Brass Band tape mix 03. RM 5

June 22, 1966 04. RS 2

MULTITRACK 05. Instrumental 06. Control Room Monitor Mix

EXTRAS 07. 1968 RM 08. 1996 Enhanced Mix

【SHE SAID SHE SAID】 March 1966 HOME DEMOS HE SAID HE SAID SESSION 1 09 – Demo # 1 10 – Demo # 2 False Start 11 – Demo # 3 12 – Demo # 4 13 – Demo # 5

HE SAID HE SAID SESSION 2 14. Demo # 6

SHE SAID SHE SAID SESSION 3 15. Demo # 7 w / False Start 16. Demos # 8 & # 9

June 21, 1966 17. RM Acetate

CHANNEL MIX 18. Left (mono) 19. Right (mono)

【GOOD DAY SUNSHINE】 June 8, 1966 20. Take 1 with SI (Left Channel Mix Mono)

June 9, 1966 21. Overdubs onto Take 1 (Right Channel Mix Mono)

June 22, 1966 22. RM 7 23. RS 1

[AND YOUR BIRD CAN SING] April 20, 1966 SESSION 1 24. Take 2 with Vocal track # 1 25. Take 2 Bass, Guitar & Second Vocals SI 26. Take 2 Vocals Overdub # 3 w / extra guitar solo SI Take 2 With 27. Three Vocals And SI (1996 Composite)

April 26, 1966 RE-MAKE SESSION 28. Take 3 (Breakdown) 29. Take 6 (Final Only) 30. Take 10 Cymbal, Tambourine Ando Handclaps SI 31. Alternate Guitar SI # 1 32. Take 10 RM 5 33. Guitar SI # 2 re-make (multitrack) 34. Guitar solos comparisons 35. Takes 10 & 6 Unreleased Instrumental

April 27, 1966 36. Takes 10 & 6 no ADT vocals 37. Vocals with ADT (multitrack)

May 12, 1966 38. RM 7 & 8 for the US

May 20, 1966 39. RS 1 & 2 edit for the US 40. RS 1 & 2 edit for the UK

June 7, 1966 41. Acetate Test Mix RM 9 & 10

June 6 & 8, 1966 42. Edit of RM 9 & 10 for the UK

MULTITRACK 43. Instrumental

DISC FOUR 【FOR NO ONE】 May 9, 1966 MONITOR MIXES 01. Rehearsal 02. Take 1 03. Take 2 04. Take 7 05 . Take 8 06. Take 9

May 16, 1966 07. Take 10 SI # 1 (monitor mix # 1) 08. Take 10 SI # 2 (monitor mix # 2) 09. Take 10 SI (monitor mix # 3) 10. Take 10 SI (composite monitor mix) 11. Take 10 SI Clavichord track 12. Take 10 SI Vocal track

May 19, 1966 13. Take 14 SI Alternate Horn (monitor mix) 14. Take 14 SI French Horn

MULTITRACK 15. Take 10 backing track

【DOCTOR ROBERT】 May 12, 1966 16. RM4 for the US 17. Acetate Test Mix

May 20, 1966 18. RS 1 for the US

【I WANT TO TELL YOU】 June 2, 1966 19. Pre-Take 1 (partial)

June 3, 1966 20. RS from Take 4 (full intro)

【GOT TO GET YOU INTO MY LIFE】 April 7, 1966 21. Take 5

May 18, 1966 22. Tape reduction Take 9

CHANNEL MIXES 23. Take 8 partial from 5.1 mix 24. Take 8 with SI (Left Channel / mono) 25. Brass SI # 1 partial from 5.1 26. Brass SI # 2 partial from 5.1 27. Second Vocal SI partial from 5.1 28. Take 9 SI

June 20, 1966 29. RM 8 different vocal at end

June 22, 1966 30. RS1 different vocal at end

EXTRAS 31. RM & RS End comparison JULY, 1966

CLIFF BENNET AND THE REBEL ROUSERS SESSION 32. Paul on Piano and Producer

【TOMORROW NEVER KNOWS】 April 6, 1966 33 Take 1 alternate intro 34. Take 1

April 27, 1966 35. Take 3 RM 8 Mono Matrix II

June 6, 1966 36. Take 3 RM 11 Mono Matrix I

June 8, 1966 37. Acetate Test RM 11

June 22, 1966 38. Take 3 RS 6

MULTITRACKS 39. Take 1 (mixing desk) 40. Take 3 (full end) (mixing desk) 41. Take 3 monitor mix 42. George Martin explains

DISC FIVE ALTERNATE MIXES & WORLDWIDE VARIATIONS 【PAPERBACK WRITER】 01. 1966 Japanese EP Duophonic 02. 1970 US ‘Hey Jude’ LP Stereo reversed 03. 1979 unreleased US ‘Collector’s Items’ LP Stereo 04. 1982 UK ’20 Greatest Hits’ LP Stereo Center 05. 1983 UK ‘Abbey Road Show’ John Barrett Stereo 06. 1996 ‘Anthology’ Video Mix Stereo 07. 2001 ‘Beatles 1’ Video mix Stereo 08. 2009 ‘Rockband’ mix

【RAIN】 09. 1983 UK ‘Abbey Road Show’ John Barrett Stereo 10. 1996/2003 ‘Anthology’ Video Mix Stereo 11. 1996 ‘Anthology’ Laserdisc Stereo

【TAXMAN】 12. 1966 French ‘Revolver’ LP Mono clean intro 13. 1966 French ‘ Revolver ‘LP Stereo clean intro 14. 1966 Mexican’ Revolver ‘LP Mono clean intro 15. 1976 US “Rock’ N ‘Roll Music” LP Stereo reversed 16. 2009’ Rockband ‘mix

【ELEANOR RIGBY】 17. 1968′ YS Film ‘ Stereo 18. 1987 ‘YS Film’ Laserdisc Stereo

【I’M ONLY SLEEPING】 19. 1966 French EP Mono slightly dif EQ 20. 1966 US “Yesterday and Today” LP Duophonic

【LOVE YOU TOO】 21. 2011 “LITMW” Video Stereo 22. 2011 5.1 separation

【HERE, THERE AND EVERY WHERE】 23. 1977 “Love Songs” LP Stereo reversed 24. 1980 “Ballads” LP Stereo

【YELLOW SUBMARINE】 25. 1968 ‘YS Film’ Stereo 26. 1982 UK ’20 Greatest Hits’ LP Stereo 27. 2009 “Rockband” mix

【AND YOUR BIRD CAN SING】 28. 1996 US “Yesterday and Today” LP Duophonic 29. 2009 “Rockband” mix

【FOR NO ONE】 30. 1977 “Love Songs” LP Stereo reversed

【DR. ROBERT】 31. 1996 US “Yesterday and Today” LP Duophonic

【GOT TO GET YOU INTO MY LIFE】 32. 1976 US “Rock ‘N’ Roll Music” LP Stereo reversed 33. 1976 Single Stereo with echo