Beatles (5/Cd) One Down Six To Go Vol 2

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■ Ultimate set including many first appearance sound sources that have never been recorded anywhere. ■ It is longer than the previous episode, including those that are recorded for the first time in an unedited manner.

Sargent Peppers was announced in June 1967. There was a sign that the bud of the hippie movement was bloomed in all fields until now, but it was nothing other than the Beatles’ Sargent Peppers, which was recognized as a psychedelic social phenomenon in earnest. In addition to being a bold, it is also recognized as a masterpiece even in the modern era after half a century since the announcement, as a symbol of that era. Is it under the influence of drugs, esoteric lyrics in which metaphor is interspersed, fancy tune with glitteriness? None of them made me feel the new musicality of the Beatles different from the past. The result of resigning from all the live activities and concentrating on the studio work was fruited as a concept album collecting the styles of such studio technology at the time.

As an album concept, a fictitious band led by Sergeant Pepper is going to show, and entertainers starting from the hustle and bustle of the audience, entertainers appearing one after the other, have become the trend of ending like ending and reckless encore. However, it is not necessarily all songs recorded along this concept by listening to “Lovely Rita”, “When I’m Sixty Four”, “Within You Without You” and so on. Roughly speaking, it can be said that songs interposed between them are irrelevant, since only the first few songs and reprints are consistent with the concept. If we mention the concepts that seem to be concepts, it might be in a tune that covers the whole, a tone that has undergone complex work. Such an atmosphere can be felt as a scent remaining in the next magical. To put it briefly, the symbol embodying the psyched world view and fixing it in the era is the concept of this album. The album was released in June 1967, but the recording began around December 1966. Since the last tour is August, it is a recording after taking a three month vacation. Considering that you are recording “revolver” from April to June, you can visit and know how high the creative motivation of this time was during the tour. This work is the title which recorded the recording session of this album “Sargent · Peppers”. This work is Vol.1.

【BEING FOR THE BENEFIT OF MR.KITE】 It is a song that John made after inspiration of the circus poster, has become a theme that is consistently consistent with the album concept. For Westerners, circus suddenly appears in the endless everyday life, and it is like a non-everyday symbol departing from unnoticed. It is a masterpiece that embodied the atmosphere of the different world with John’s unique world view. At first, I will take over, but John often stops making mistakes repeatedly. In the studio there is also recorded how Paul is expressing opinions. Taking on the incomplete backing yet, the vocalist John’s singing is full of force and wonderful, this is exactly the charm of live songs. While the back is simple with the tone of the push organ organ and the drum, the song world has already been completed and it is only adding “chaos” from the first stage. There are many interesting take, such as John singing with La la la ~ part of the interlude. And since John is re-singing vocals for each take, it’s all about listening to different vocals. Disc 1 Tracks 10 and 11 are sound effects of a circus. I am surprised to see something like this.

【WITHIN YOU WITHOUT YOU】 Perhaps George’s Indian music which is regarded as a serpent in the album. It is recorded from the state of the rehearsal of the recording which was done from March 15, 1967. It seems that George practicing inserting a provisional song to Indian orchestra. It is a song that is far different from what was released, not sure if George’s temporary song is lyric or mantra. Although instruments are indian instruments, as a recording method as usual, songs are completed by repeatedly sitar, biori and others. The disc 1 track 30 is the greatest listening place. It is a single vocal of a live song whose effect is not applied to George’s vocals. I sing like a conversation rather carefully.

【WHEN I’M SIXTY FOUR】 A young Paul is a song of a melody that is a heartwarming depiction of a happy old age that would have been saved in the future as he grew older. Currently Paul has exceeded this age, but at the age of 64 he did not do anything in particular, only played once at a private party on the apple ‘s 64th birthday. In the recording that took place on December 6, 1966, comments for fans and clubs’ Christmas records are recorded before they start songs. It seems that the disc 2 track 6 and the tempo are somewhat slow, and Paul’s vocal seems to be elongated, but in reality this is the correct pitch, and what is released is recorded with the pitch intentionally raised . Paul’s vocals are another take, and it is often well-known that singing together with something other than singing together is another way to sing. Take 3 has no chorus, but a session for overdub was held on December 20, nearly completing there. Track 8 is a low tone clarinet track that is a feature of songs.

【LOVELY RITA】 A song was made because the name of the female police officer who was in charge when Paul was asked for a parking violation was Rita. In the recording on February 23, 1967, it is not a thing to rehearse yet, and it is beginning with a miscellaneous performance. It is interesting that John is enthusiastic about John ‘s coming, despite Paul’s songs. There is not yet an intro “Aaa ~”, and on track 16 you can see that Paul intentionally sings with a youthful and high-pitched voice. It is felt the magnificence of Paul as a vocalist where you use various voices differently depending on the song, and also convince that it is all Paul’s voice. With a singing voice like fumbling with a single vocal, you can listen to ad lib · vocals in the ending of the song. When it becomes track 17, an effect is added to the vocal and it becomes close to what was released. For the first take recorded to March 7, 1967, while taking it down, “Aaa -” has been added at the beginning. Track 19 is all vocal tracks including chorus. Track 20 is the piano of interlude by George Martin.

【GOOD MORNING GOOD MORNING】 First recorded is a demonstration sound source by John alone. It is a really early version of the same song. Recording will start from February 8, 1967. At the stage of take 1 it is an intense hard rock like arrangement. Although the final version also leaves that atmosphere, it is a song that can not be made except for John whose guitar riff is impressive. Disk 2 Track 33 is a vivid version of single vocals. John is fantastic to sing without tinkering lyrics that stir up quickly. The truck 35 is a take overlapped with a brass section that produces noisiness. Disk 4 Track 4 is an effect sound of an animal effectively used in a song. As is well known, the barks are arranged in order of the plant chain. Here it is recorded with a length longer than one and a half minutes longer than the conventional one. And track 5 is an unedited version that does not surprisingly fade out. In the release version, the animal’s barks finished overlapping with the fade-out, where Paul and John’s ad lib / vocal continued indefinitely, and it was completely recorded as if two people were billed like “Hey Bulldog” .

【SGT.PEPPER’S REPRISE】 It is a reply of the title song. Take 1 is like a rehearsal sound rather than a song, but you can see that the phrases you hear everywhere, the high-pitched bass sound of the intro, this is not wastefully used firmly in songs. It is interesting that track 12 is singing Paul pretty badly. The truck 13 is more rude with more loops, and it seems to tell rather than sing. Track 17 is a clear John voice chorus part. The track 18 is an effect of clapping and cheering by a sound effect. Perhaps it was recorded on the same tape of the library because it can also hear the crowd effect sound heard at the intro of the title song.

【A DAY IN THE LIFE】 This “A Day In The Life” is the most time spent in the same song in this work. It is the biggest highlight of this work that you can understand virtually the process of making a song that gradually rises from take 1. In the session on January 19, 1967, recordings take from 1 to 4. Simple playing of only Akogi and piano, John’s vocal is surprised to have been completed, although it is simple of another take. The middle part by Paul’s hand is incomplete and no vocals are included, but the melody to be inserted is that of “A Day In The Life” without any doubt. The ending ends with piano succession and counting again, and of course there is no orchestra in it. This will start on January 30th and a middle Paul song will enter. Lyrics are incomplete just because they are in the stage of rehearsal yet, Paul can sing occasionally and can not sing. In the session on February 3, 1967, overdubbing of vocals and choruses Paul seriously sung was done.

And recording of the orchestra by the large household was done on February 10, 1967. First is the recording of orchestration in Paul’s middle part back to the second half of John again. I understand that Paul instructs the part which is instable and gradually rising up repeatedly over and over. It will be that I have added a melody, added a bass, added a cymbal, added an accent, repeated trial and error, any number of patterns and finally picked the best one. Take 13 has also inserted the middle part of the orchestra and Paul, boasting almost the same perfection as the release version. The only thing that is different is that there is no ending “Jar – run”. It seems that it is not decided how to finish ending this song, and discussion is done in the studio. Originally it was suggested to end with Humming called Auuuun and you can see that he practiced repeatedly with Auuuun many times. Disk 4 Track 18 is recorded as a version that finishes with humming like this Au-Uuun, but it can not be done anymore. It is unlikely that Hamming Ending was dismissed.

The orchestra was convened again on 22nd February and recording was done. Basically I did work on John’s vocals and Hamming Ending was decided to be dismissed, but recording including orchestra was done without deciding the ending. So when was the ending being conveyed to that present decided? That was still this day. At the end of the disc 4, only the ending part, only the part where the piano and the orchestra do with Joe are recorded by Paul’s count from take 1 to 9. Indeed, as the last piece to complete a song, edit this ending part and finally complete it.

【ONLY A NORTHERN SONG】 It was recorded in Sargent · Peppers’ recording session and it was recorded in Yellow Submarine. It is due to George, and the completed version is psychedelic and finished in a glittery song. Take 3, recorded on February 13 and 14, 1967, is a very simple song by George singing back only on drums and basses, and it has become completely undecorated from the original song. In the recording on April 20th, the sound of the organ is added and the impression is much different. Disk 5 Track 9 is a vocal version that became a bump. Clearly George’s singing voice is dark, it is a creepy way of singing as if listening to words of curse. It seems as if George’s dissatisfaction with the actual Northern Songs is included as a grudge. Truck 10 is another version of the vocalist that once again got stuck. The tempo is quite slow, better than track 9, but the smell of curse has not been eliminated. It is dark. The impression differs so much by the singing turning point that there is no bright and light atmosphere of the release version.

【EXTRA】 From here it contains sound sources related to Sgt. Peppers. First recorded is the radio program that appeared on March 20, 1967 when the recording was over, John and Paul replied to Brian Matthew’s interview. Bryan Matthew is asking how the next album will go soon, as it is known that his appearance departs from the live activity, its appearance has changed and he is concentrating on recording new albums. Paul answers “folk rock” and so on. Next time, the radio program of the broadcast on May 20, 1967 was recorded and broadcasted after the release of the album. With the Kenny Everett hosted, the Beatles member himself adds commentary while listening to the songs of the album. And lastly it contains four kinds of luxurious version of the radio spot of the 50th anniversary released in 2017.

【ONE DOWN, SIX TO GO VOL.2】 Before “Sargent · Peppers” became “Sargent · Peppers”, members were called as “ONE DOWN, SIX TO GO” on the tentative title. This work is titled according to it. It is a big project that includes a lot of debut sounds, covering 10 disks indeed. This work is the second part. It records studio session sound sources from “Mr. Kite” recording which is also called the deepest part of the album to “A Day in the Life”, and the same period “Only A Northern Song”. Permanent preservation of a beautiful picture / disk specification A tightly pressed press.

DISC ONE BEING FOR THE BENEFIT OF MR KITE February 17, 1967 01. Take 1 (breakdown) 02. Take 2 (breakdown) 03. Take 3 (breakdown) 04. Studio Chat 05. Take 4 06. Take 7 07. Mixdown of Take 7 08. Take 8 09. Take 9 Vocal SI w/ADT

February 20, 1967 10. Effects Tape process 11. Final Effects Tape

March 28, 1967 Overdubs 12. Organ & Guitar solo SI 13. Bass Harmonica & Organ #2 SI

March 29, 1967 Overdubs 14. Tape Effects SI #1 15. Tape Effects SI #2 16. Tape Effects SI #3 17. Organ SI 18. Tape Effects SI #4

March 31, 1967 Overdubs 19. Uknown Mono Remix

MULTITRACK 20. Drums 21. Bass 22. Instrumental

WITHIN YOU WITHOUT YOU March 15, 1967 23. Rehearsal #1 24. Rehearsal #2 25. Take 1

March 22, 1967 Overdubs 26. Take 2 Dilruba SI

April 3, 1967 Overdubs 27. Violins and Cellos SI 28. Sitar SI 29. Remix of Take 2 30. Pure Vocal track SI 31. ADT Vocal effect

MULTITRACK 32. Control Room 33. Dilruba & Swardmandala 34. Tabla & Tamboura

DISC TWO WHEN I’M SIXTY FOUR December 6, 1966 01. Messages For Radio London 02. Messages For Radio Caroline 03. Take 1 (partial) 04. Take 2 05. Piano recording

December 8, 1966 06. Vocal SI on Take 2

December 20, 1966 overdubs 07. Take 3

December 21, 1966 overdubs 08. Clarinets SI on Take 4

MULTITRACK 09. Bass and Drums 10. Vocals 11. Backing vocals & Bell 12. Backing Track Mix

LOVELY RITA February 23, 1967 13. Take 1 (partial) 14. Take 8 15. Take 9 Bass SI

February 24, 1967 16. Take 9 vocal SI 17. Vocal SI #2

March 7, 1967 18. SI on Take 11 19. All vocal tracks

March 21, 1967 20. GM Piano SI

MULTITRACK 21. Drums 22. Bass 23. Acoustic Guitars 24. Pianos & Combs 25. Instrumental

GOOD MORNING GOOD MORNING 26. Corn Flakes Commercial 1967

Jan-Feb, 1967 Home Recording 27. Demo #1 (breakdown) 28. Demo #2

February 8, 1967 29. Take 1 30. Take 2 (partial) 31. Take 8

February 16, 1967 32. Bass SI 33. Take 8 Vocal SI 34. Take 9 ADT Vocal

March 13, 1967 35. Brass SI onto Take 10

DISC THREE GOOD MORNING GOOD MORNING March 28, 1967 01. Guitar Solo SI 02. Take 11 Vocal SI 03. Take 11 Backing Vocals SI

March 29, 1967 04. Sound Effects RM20 05. Unedited Take 11

MULTITRACK 06. Drums 07. Guitars 08. GM Mixing Desk 09. Instrumental

SGT PEPPER (REPRISE) April 1, 1967 10. Take 1 (partial) 11. Take 2 (breakdown) 12. Take 5 w/Bass SI 13. Take 8 (unedited) 14. Take 9 (unedited)

Overdubs 15. Bass SI 16. Final Track 17. Vocals 18. Sound Effects 19. Remix 9

MULTITRACK 20. Instrumental

EXTRA 21. Edited 8 Track Version

A DAY IN THE LIFE January 19, 1967 22. Take 1 (unedited) 23. Take 2 24. Take 3 (intro only) 25. Take 4 (partial w/voiceover) 26. New Vocal onto Take 4 27. Take 4 SI 28. Piano SI #1 29. Piano SI #2

January 20, 1967 30. Reduction Take 6 31. Take 6 Drums, Bass & Vocal SI

January 30, 1967 32. RM1 from Take 6

February 3, 1967 Overdubs 33. New Piano & Maracas 34. Pianos & Maracas SI(4 track tape) 35. New Bass & Drums SI (4 track tape)

DISC FOUR A DAY IN THE LIFE February 3, 1967 Overdubs 01. New Paul vocal & backings 02. Vocals SI (4 track tape) 03. Take 6 Four Track Remix 04. Control Room Multitrack

February 10, 1967 ORCHESTRA 05. Studio Chat 06. Middle Eight 07. Orchestra Recording #1 08. Orchestra Recording #2 09. Orchestra Recording #3 10. Orchestra Recording #4 11. Studio Atmosphere 12. Mixdown of 4 track tape 13. Take 7 14. Take 8- Edit piece 15. Take 9- Edit piece 16. Take 10-Edit Piece 17. Take 11-Edit Piece 18. 4 track Tape Remix

February 22, 1967 Stereo Remix 19. Final Orchestra Ensemble 20. RS 1 21. RS 2 22. RS 3 23. RS 4 24. RS 5 25. RS 6 26. RS 7 27. RS 8 28. RS 9

Piano Edit Piece 29. Take 1 30. Take 2 31. Take 3 32. Take 4 33. Take 5 34. Take 6 35. Takes 7 & 8 36. Take 9

MULTITRACK Separate Pianos 37. John 38. Paul 39. Ringo & Mal

Overdub 40. George Martin

DISC FIVE A DAY IN THE LIFE February 23, 1967 01. Stereo Remix Take 12

MULTITRACKS 02. GM Control Room #1 03. GM Control Room #2 04. The Record Producers 05. Bass, Maracas, Drums, Tambourine 06. Instrumental 07. Alternate Mix 2015 missing piano note

ONLY A NORTHERN SONG February 13 & 14, 1967 08. Takes 3 & 12

April 20, 1967 MULTITRACK 09. First Vocal 10. Second Vocal + new bass and trumpet 11. Vocal Mix + extra vocals + trumpet 12. Glockenspiel Mix 13. Trumpet + bells

November 15, 1967 14. RM6

EXTRA March 20, 1967 EMI STUDIOS, LONDON 15. Paul & John interview with Brian Matthew

May 19, 1967 CHAPEL STREET, LONDON (broadcasted May 20, 1967) WHERE IT’S AT with Kenny Everett 16. Introduction with Paul & John 17. Ringo talks 18. John introduces Lucy 19. John talks 20. Sgt Pepper interlude 21. Kenny Talks 22. Paul talks 23. Kenny talks 24. Paul talks 25. Paul ends the program

50th ANNIV RADIO SPOTS 2017 26. Unbroadcasted #1 27. Unbroadcasted #2 28. Unbroadcasted #3 29. Unbroadcasted #4