Beatles - Turn Me On Dead Man: The John Barrett Tapes (2 Cds)

( DISC ONE )

1. From Me To You (Lennon/McCartney) 01:57 Alternate Mix Barrett 5 Mar 1963

The Beatles Stereo. This track is the released take of the Beatles's third single, yet is featured here in the closest form yet to a stereo mix of the mono single version with the harmonica in place over the intro. It features the tail-end of Paul's "1-2-3" count-off, but does not include the introductory "Da-da-da"'s 2. From Me To You (Lennon/McCartney) 01:58 Alternate Mix Barrett 5 Mar 1963

The Beatles Stereo. A Barrett remix of the previously available stereo version, which is sans the harmonica introduction, but features the "Da-da-da"'s. 3. Thank You Girl (Lennon/McCartney) 02:07 Alternate Mix Barrett 5 & 13 Mar 1963

The Beatles Stereo. The B-side of "From Me To You" is included in a stereo mix which is similar to the mono single version which featured fewer harmonica overdubs in comparison to the next version. There is also a bit of studio noise at the beginning. 4. Thank You Girl (Lennon/McCartney) 02:05 Alternate Mix Barrett 5 & 13 Mar 1963

The Beatles Stereo. A long-awaited mix, an "unechoed" stereo version with harmonica over the middle-eight as well as the intro and outro. This previously appeared oni Capitol's "The Beatles Second Album", swamped in reverb placed there by the oh-so-wise Capitol Tower engineers in March of 1964. 5. The One After 909 (Lennon/McCartney) 02:49 Take 2 Barrett 5 Mar 1963

The Beatles Mono. Take 2 of a series of five takes (hear them all in stereo on Vigotone's "March 5, 1963" disc). George was obviously having problems with the solo here; listen to John's comment as the song fades out. The problem was solved with take 5 which was an edit piece which picks up the song from just before the solo to the end. A Barrett edit of take 4 and his edit piece can be heard on "Another Sessions... Plus". 6. She Loves You (Lennon/McCartney) 02:24 Alternate Mix RS1 1 Jul 1963

The Beatles Rechannelled stereo. RS1 on 8 Nov 1966. In late 1966, when it was apparent that there was not to be a new Beatles studio album in time for Christmas, a greatest hits was hastily assembled for the UK market only. Actually, "A Collection Of Beatles Oldies (But Goldies)" was welcomed by the fans at the time as a way of picking up several tracks which had never appeared on UK albums, of which "She Loves You" was one. The problem came when putting the stereo version of the album together, as the session tapes of "She Loves You", were long gone. Thus, on November 8, Geoff Emerick spent time trying to fashion a stereo version from the mono mixdown tape. The first mix you'll hear (with his voice featured on the beginning slate, as it is on the second mix as well) was the one used for the LP, with the bass frequencies emphasized in the left channel and the highs in the right. 7. She Loves You (Lennon/McCartney) 02:27 Alternate Mix RS2 1 Jul 1963

The Beatles Rechannelled stereo. RS2 on 8 Nov 1966. However, the second one has Emerick shifting the track from channel to channel when various sections of the song were being performed, not dissimilar to the trick United Artists engineers utilized on the US Stereo "A Hard Day's Night" LP. (Note: in Mark Lewisohn's "The Beatles Recording Sessions", he states that remix two was not the one used for the "Oldies" LP). 8. This Boy (Lennon/McCartney) 02:26 Alternate Mix RS15 17 Oct 1963

The Beatles Stereo. RS15 on 10 Nov 1966. While the "Oldies" album was being prepared, it was discovered that there was one Beatles track which had not appeared on any UK LP to date: "Bad Boy", the Larry Williams potboiler which had surfaced on the US "Beatles VI" LP in June of 1965. The track was called up for remixing but instead of receiving the tape for "Bad Boy", the tape for "This Boy" had been sent instead! Engineer Peter Brown duly mixed the tracks into stereo for the first time, and it is his voice heard on the opening slate for "RS15". It was then discovered that this was the incorrect track required but "Bad Boy" was never remixed in the end, as the original 1965 mix was found to be sufficient. This mix of "This Boy" went unissued until 1976 when it appeared on a Capitol of Canada 45 with "All My Loving" on the flip side, but this is its first appearance with the slate. 9. I'm A Loser (Lennon/McCartney) 02:24 Alternate Mix Barrett 14 Aug 1964

The Beatles Stereo. An alternate stereo mix of the "Beatles For Sale" LP track prepared by Barrett in 1982 for the "Abbey Road" presentation. 10. Mr Moonlight (Johnson) 02:33 Take 4 Barrett 14 Aug 1964

The Beatles Stereo. This take was indeed issued on "Anthology 1" in 1995 but in a compressed, extremely narrow stereo mix. This is a superior mix by Barrett which is more faithful to the stereo mixing style of 1964. 11. What You're Doing (Lennon/McCartney) 02:05 Take 11 Barrett 30 Sep 1964

The Beatles Stereo. A truly exciting never before issued item, the 11th take of this "Beatles For Sale" track which was temporarily marked "best" until the Beatles remade the song on October 26. It's a bit rough around the edges but features a slate, studio chat, full vocals from Paul & John, and includes a "false ending" which was not utilized in the final version. 12. That Means A Lot (Lennon/McCartney) 02:46 Take 1 RS? 20 Feb 1965

The Beatles Stereo. RS? on 23 feb 1965. With this series of takes, we track the journey of an urneleased Beatles song. This was not one of the Lennon/McCartney team's finer moments, and was eventually recorded by expatriate P.J. Proby on April 7, 1965 for an unsuccessful 45 release. However, The Beatles gave it a go over two separate recording sessions for "Help!" and the results are featured here, complete with slates and studio chatter. All the above tracks are either previouslay unavailable mixes (track 12, 13 & 14), previously unreleased (track 15 & 16) or in more superior quality than available before (track 17, 18 & 19).

Take 1 RS? has vocals more in front and a longer outro than usual. 13. That Means A Lot (Lennon/McCartney) 00:27 Edit Piece 20 Feb 1965

The Beatles Stereo. An edit piece for the end of "That Means A Lot". 14. That Means A Lot (Lennon/McCartney) 02:27 Alternate Mix RM? 20 Feb 1965

The Beatles Mono. "Low Reverb Mix". Mixed on 20 Feb 1965. 15. That Means A Lot (Lennon/McCartney) 01:12 Take 20 Barrett 30 Mar 1965

The Beatles Stereo. Breakdown. 16. That Means A Lot (Lennon/McCartney) 02:10 Take 21 Barrett 30 Mar 1965

The Beatles Stereo. Features rolling drums by Ringo. 17. That Means A Lot (Lennon/McCartney) 00:23 Take 23 Barrett 30 Mar 1965

The Beatles Stereo. Better quality than usually. 18. That Means A Lot (Lennon/McCartney) 01:45 Take 24 Barrett 30 Mar 1965

The Beatles Stereo. Better quality than usually. 19. That Means A Lot (Lennon/McCartney) 00:56 Test Take Barrett 30 Mar 1965

The Beatles Stereo. Better quality than usually. 20. Help! (Lennon/McCartney) 02:18 Instrumental Barrett 13 Apr 1965

The Beatles Stereo. This take 8 "basic tracks" version was used in the "Abbey Road" show after being mixed to stereo by Barrett. 21. Norwegian Wood (This Bird Has Flown) (Lennon/McCartney) 02:08 Take 1 Barrett 12 Oct 1965

The Beatles Stereo. Take 1, as presented several times before on other releases though it is included here with a slate and some studio chat previously unheard prior to this release. This was one of the two mixes produced by Barrett; the other one is found on "Another Sessions". 22. Norwegian Wood (This Bird Has Flown) (Lennon/McCartney) 02:28 Take 2 Barrett 21 Oct 1965

The Beatles Stereo. Take 2, in markedly better quality than any previous issue. 23. 12-Bar Original (Lennon/McCartney/Harrison/Starkey) 00:32

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-------------------------------------------------------------------------------- Take 1 Barrett Stereo Mix 4 Nov 1965 SS.ETC.10.01.RSx The Beatles This is the same as take 1 but in stereo, as mixed by John Barrett in 1982.

Stereo. An instrumental "Green Onions" cop, which was recorded as a desperation move when it seemed the "Rubber Soul" LP was going to be a bit short on tunes. Thankfully, John came up with "Girl", Paul offered "I'm Looking Through You", and "Wait" was dug up from the archives from its non-appearance on "Help!". "12-Bar Original" was then released to the vaults, thus keeping it from being the song on "Rubber Soul" that everyone would skip over on repeared listenings! Here are takes 1 (a breakdown) and 2 (track 24), in an upgrade from previous appearances in stereo with slate. 24. 12-Bar Original (Lennon/McCartney/Harrison/Starkey) 06:51

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-------------------------------------------------------------------------------- Take 2 Barrett Stereo Mix 4 Nov 1965 SS.ETC.10.02.RSx The Beatles This is the enhanced take 2, as mixed by John Barrett in 1982.

Stereo. This mix is different to the other versions of take 2 particularly from around 4:00 where the guitar goes mad. From around 4:30, we have the organ going mad as well. It's going back to normal from around 5:30. 25. Paperback Writer (Lennon/McCartney) 02:19 Alternate Mix Barrett 13-14 Apr 1966

The Beatles Stereo. [..] remix Barrett made specifically for the "Abbey Road" presentation with differences in placements of instruments and vocals immediately noticeable to those folks who take interest in such things ! 26. Rain (Lennon/McCartney) 02:53 Alternate Mix Barrett 14-16 Apr 1966

The Beatles Stereo. [..] remix Barrett made specifically for the "Abbey Road" presentation with differences in placements of instruments and vocals immediately noticeable to those folks who take interest in such things ! 27. Tomorrow Never Knows (Lennon/McCartney) 02:57 Alternate Mix RM11 22 Apr 1966

The Beatles Recorded 6, 7 and 22 Apr 1966. Mono. RM11 on 6 Jun 1966. As a special bonus, we have taken the liberty of straying from the Barrett tapes for one track. Featured here is the extremely rare mono mix (RM11) of "Tomorrow Never Knows" which was included on a select few first pressing of the monaural UK "Revolver" LP (matrix #XEX 606-1 only). This came about as a result of George Martin making a second call on July 14, 1966 (as the album was already in the cutting stages) to Geoff Emercik to replace this mix with RM8, which had been produced earlier, on April 27. However, it wasn't changed before some pressings had already been manufactured with RM11, thus insuring that very few people would ever get to hear this considerably different (in both content and length) mix. Now you can see for yourself if old George made the right decision.

( DISC TWO )

1. Strawberry Fields Forever (Lennon/McCartney) 03:12 Take 7 RM3 29 Nov 1966

The Beatles Mono. RM3 on 29 Nov 1966. This is the complete mono mix (RM3) of take 7, which was cross-faded on "Anthology 2" into a newly-created, drums-only mix of take 25. This original mono version was previously only available on an acetate included on Vigotone's "It's Not Too Bad" CD, but it has a count-in here (and is of course taken from tape!). 2. Strawberry Fields Forever (Lennon/McCartney) 03:08 Take 26 RM9 15 Dec 1966

The Beatles Mono. RM9 on 15 Dec 1966. A rough mono mix (RM9 for those of you keeping score) which is new in that it features a rough John Lennon single-tracked vocal over the "orchestral version" (take 26) for the first time. All other mixes of this rendition which have appeared in the past have been in stereo with no complete vocal existing on top of the track. 3. Penny Lane (Lennon/McCartney) 03:08 Take 9 RM8 12 Jan 1967

The Beatles Mono. Recorded on 29 dec 1966, January 4-6 & 9-12, 1967. RM8 on 12 Jan 1967. Another exciting discovery, the complete "oboe" version of "Penny Lane" as originally mixed down to mono (RM8) after recording woodwind and brass overdubs for the track on the 12th of January. Paul took his mix home and realized it needed something else to make it complete, which ended up being a Bach trumpet solo which was recorded five days later. In 1995, a hybrid of the oboe and trumpet versions was mixed for "Anthology 2" but the "oboe only" mix appears here for the first time, complete with some studio noise and a count-in at the beginning. 4. Penny Lane (Lennon/McCartney) 02:59 Take 9 RM10 17 Jan 1967

The Beatles Mono. Recorded on 29 dec 1966, January 4-6 & 9-12 & 17, 1967. RM10 on 17 Jan 1967. Along came David Mason and his Bach Trumpet, and "Penny Lane" was mixed into mono and completed. Or was it ? This mix (RM10), featuring a seven-note ending trumpet figure over the ending, is very close to the RM11 which was shipped to Capitol in th US immediately after its completion, and was used for the initial pressings of the promotional 45's for the song. However, the mix was improved upon on January 25, and RM14 is the one that was used from that point on. RM10 is included here in all of its mono glory.

5. Penny Lane (Lennon/McCartney) 03:01 Alternate Mix Barrett 29 Dec 1966

The Beatles Stereo. Recorded December 29, 1966, January 4-6 & 9-12, 1967. Remixed 1982 by Barrett. A stereo remix also prepared for the "Abbey Road" presentation, reflecting the final "non-trumpet ending". 6. A Day In The Life (Lennon/McCartney) 05:07

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-------------------------------------------------------------------------------- RSx Barrett Mix 20 Jan 1967 SS.SGT.13.0607.RSx The Beatles This is a stereo mix prepared by John Barrett for The Abbey Road Show.

Tilleul's note: Some sources (Sulpy) say it's the same than the "Imagine Soundtrack" mix ... I still have to check that.

Stereo. Recorded January 19-20, February 3 & 10, 1967. Stereo remix by Barrett again for "The Beatles At Abbey Road". "A Day In The Life" includes John's count-in and therefore a clean guitar intro instead of the cross-faded "Sgt. Pepper" LP version. 7. Hello Goodbye (Lennon/McCartney) 03:22 Alternate Mix Barrett 2 Oct 1967

The Beatles Stereo. Recorded October 2, 19-20 & 25, November 1-2, 1967. Strings are more proeminent. 8. Lady Madonna (Lennon/McCartney) 02:15 Alternate Mix Barrett 3 & 6 Feb 1968

The Beatles Stereo. Does not include any of the saxophone overdubs found on the issued mixes.

9. Hey Jude (Lennon/McCartney) 02:41 Take 9 Barrett 30 Jul 1968

The Beatles Stereo. (Liner notes indicate that this was recorded on September 16, 1968 -- this is wrong). Only the "na-na-na" part. This particular performance of the Fab Four's most popular single was the soundtrack for a staple of Beatles movie marathons over the last 25 years: the clip of the Beatles rehearsing "Hey Jude" for the National Music Council of Great Britain's documentary, "Music!". As this clip was also used in the "Abbey Road" presentation, Barrett found the multi-tracks for the rehearsal and mixed them into stereo to accompany the film. 10. What's The New Mary Jane? (Lennon/McCartney) 06:06 Take 4 RS? 14 Aug 1968

The Beatles Stereo. Mixed 14 oct 1968. Mix # unknown. An infamous unreleased John Lennon composition meant for the "White Album" but dropped when it was decided that one unlistenable track ("Revolution #9") was enough for one album. "Mary Jane" exists in a variety of different mixes, both vintage and more recent. This happens to be one of a six-minute and five-second duration, and one of two mix produced at this October 14 mixing session. After all that effort, "Mary Jane" wouldn't be issued officially until 1996 and "Anthology 3" in a redically remixed form, abeit a more listenable form as well! 11. Step Inside Love (Lennon/McCartney) 01:32 Outtake Barrett 16 Sep 1968

The Beatles Stereo. Recorded during the "I Will" sessions with only John, Paul and Ringo. "Step Inside Love" and "Los Paranoias" were combined on "Anthology 3" in 1996 but were edited in comparison to their appearance here. "Step Inside Love" is of course a tune Paul gave to Cilla Black and who had recorded it a few months earlier. 12. Los Paranoias (Lennon/McCartney) 03:57 Outtake Barrett 16 Sep 1968

The Beatles Stereo. Recorded during the "I Will" sessions with only John, Paul and Ringo. "Step Inside Love" and "Los Paranoias" were combined on "Anthology 3" in 1996 but were edited in comparison to their appearance here. "Step Inside Love" is of course a tune Paul gave to Cilla Black and who had recorded it a few months earlier. 13. The Way You Look Tonight (Lennon/McCartney/Starkey) 01:11 Outtake Barrett 16 Sep 1968

The Beatles Stereo. Recorded during the "I Will" sessions with only John, Paul and Ringo. "The Way You Look Tonight" has never previously surfaced and is basically the tune of "I Will" with impromptu lyrics. 14. Can You Take Me Back (McCartney) 01:17 Outtake Barrett 16 Sep 1968

The Beatles Stereo. Recorded during the "I Will" sessions with only John, Paul and Ringo. "Can You Take Me Back" is a never-heard before long version of the link track used between "Cry Baby Cry" and "Revolution #9" on "The Beatles". Rip It Up (Blackwell/Marascalco)

Get Back Session Barrett 26 Jan 1969 GB26.028 The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. Shake, Rattle And Roll (Calhoun)

Get Back Session Barrett 26 Jan 1969 GB26.029 The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. Kansas City (Leiber/Stoller)

Get Back Session Barrett 26 Jan 1969 GB26.030a The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. Miss Ann (Johnson/Penniman)

Get Back Session Barrett 26 Jan 1969 GB26.030b The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. Lawdy Miss Clawdy (Price)

Get Back Session Barrett 26 Jan 1969 GB26.030c The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. 17. Blue Suede Shoes (Perkins) 02:16 Get Back Session Barrett 26 Jan 1969 GB26.031 The Beatles Stereo. The sessions described as "Hell" by John Lennon, the dreaded "Get Back/Let It Be" project did produce some enjoyable musical moments. Most of them are collected on Vigotone's "As Nature Intended" and "Get Back - The Glyn Johns Final Compilation", but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. Cannonball (Hazelwood/Eddy)

Get Back Session Barrett 29 Jan 1969 GB29.007a The Beatles Stereo. Not listed. Not Fade Away (Holly/Petty/Hardin)

Get Back Session Barrett 29 Jan 1969 GB29.007b The Beatles Stereo. The first appearance of this track in stereo. A very loose rendition and another indication that Buddy Holly remained a fab favorite to the end. Hey Little Girl (In The High School Sweater) (Stevenson/Blackwell)

Get Back Session Barrett 29 Jan 1969 GB29.007c The Beatles Stereo. Not listed. Bo Diddley (McDaniel)

Get Back Session Barrett 29 Jan 1969 GB29.007d The Beatles Stereo. Not listed. About 40 seconds longer than the usual version. 19. Because (Lennon/McCartney) 02:15

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-------------------------------------------------------------------------------- Take 16 Abbey Road Show 5 Aug 1969 SS.AR.08.16.ARS The Beatles First half a capella, rest sounds like commercial version Alternate mix unique to this presentation.

This version was prepared by engineer John Barrett in the early eighties and was part of the "Abbey Road Show" in 1983.

We end our trawl through the John Barrett tapes with one of the more effective ideas he utilized for "The Beatles At Abbey Road": a vocal-only mix of "Because" from 1969's Abbey Road. Actually, it's vocals-only for half the song, with the synthsizer coming in a the "Love is old, love is new" section, but features a new mix throughout the track.