The Beatles - Unsurpassed Masters - Vol. 6 [FLAC]

The Beatles

Publisher: Yellow Dog Records
Reference :YD 012
Date :1991
Made In :Luxembourg
Quality :Stereo
Booklet & packaging :
Total duration: 57:28

Comments
Most tracks are a little too slow on this CD. But in excellent quality !

1. There's A Place (Lennon/McCartney)
2:08
Take 1
11 Feb 1963

This is the Beatles' first-ever recording session dedicated to album work. The recording of "There's A Place" marks the first song recorded at this first album session. Of course, their entire debut album would be completed on this day, save for a few touch-up overdubs added by George Martin.
Their first four Parlophone titles, already released on singles, would also be included in the package.
Take One - The Beatles' young bassist, Paul McCartney, lets out a cough as the session tape begins. Quickly, a count-in kicks off the bands first album session. The song's distinctive harmonica introduction is not in place yet, instead picked out on guitar by 19 year old George Harrison, the band's lead guitarist. Also missing is the famed guitar pluck at the song's very beginning, one not dissimilar to the start of the group's latest single, "Please Please Me." Understandibly, the voices from bassist Paul and the band's rhythm guitar player John Lennon (who also plays harmonica) are a bit shaky. Confidence is yet to come, but this first take, a complete one, is not the one.
Pitch correction: +4.4%

2. (Medley) (unknown)
3:42
(unidentified)
(date unknown)

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.
Pitch correction: +3.7%

I Saw Her Standing There (Lennon/McCartney)
Take 2
11 Feb 1963
SS.PPM.01.02
A complete take.

Take Two - A second go at what would be the album's opening track. John Lennon is ready, "Okay, go on."
George Martin, from the booth, announces, "Here we go. Stand by."
Just before the take kicks off, a quick consultation between the band's two songwriters, as John demonstrates to Paul how he will come in after the the count-in. Paul understands, "Okay." This version is now commercially available on ANTHOLOGY I.

I Saw Her Standing There (Lennon/McCartney)
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


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

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

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

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

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


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

SESSIONS edited remix. Mono for some unknown reason.
Pitch correction: +1.4%

Help! (Lennon/McCartney)
Take 8
Breakdown
13 Apr 1965
SS.HLP.01.08
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)
Take 9
13 Apr 1965
SS.HLP.01.09

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


Take 14 remix, external.
Pitch correction: +2.7%

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

Take 7, external, instrumental.
Pitch correction: -2.2%

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

"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

End of take 8
Pitch correction: +3.5%

Hey Jude (Lennon/McCartney)
Take 9
30 Jul 1968
Pitch correction: +3.5%

15. Not Guilty (Harrison)
3:20
Alternate Version
(date unknown)

Stereo.
"Sessions" mix.
Pitch correction: +1.2%

16. Let It Be (Lennon/McCartney)
3:47
Take 30
RS1
4 Jan 1970

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

Vocals tracks only (Acapella).
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

From "Sessions"
Pitch correction: -0.5%

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

Stereo.
"Sessions" mix.
Pitch correction: +1.0%