Add Source
List Collectors
Add to Collection
I Was There
Add to Want List
Wanted By
History
Edit Show
Set I
DISC ONE is a special treat - after a mint (and UNEDITED) copy of the rejected “How Do You Do It,” we have every extant take from the PLEASE PLEASE ME LP sessions (only missing is take 9 of “Misery,” a false start). The disc concludes with the making of the third single A-side, “From Me To You,” with all the takes, various edit pieces and a remix or two.
1) How Do You Do It? - take 2
2) There’s A Place - take 1
3) There’s A Place - take 2
4) There’s A Place - takes 3 + 4
5) There’s A Place - takes 5 + 6
6) There’s A Place - takes 7 + 8
7) There’s A Place - take 9
8) There’s A Place - take 10
9) I Saw Her Standing There - take 1
10) I Saw Her Standing There - take 2
11) I Saw Her Standing There - take 3
12) I Saw Her Standing There - take 4
13) I Saw Her Standing There - take 5
14) I Saw Her Standing There - takes 6-9
15) Do You Want To Know A Secret - take 7
16) Do You Want To Know A Secret - take 8
17) A Taste Of Honey - take 6
18) A Taste Of Honey - take 7
19) There’s A Place - take 11
20) There’s A Place - takes 12 + 13
21) I Saw Her Standing There - take 10
22) I Saw Her Standing There - takes 11 + 12
23) Misery - take 1
24) Misery - takes 2-6
25) Misery - take 7
26) Misery - take 8
27) From Me To You - takes 1 + 2
28) From Me To You - take 3
29) From Me To You - take 4
30) From Me To You - take 5
31) From Me To You - takes 6 + 7
32) From Me To You - take 8 announcement
33) From Me To You - master edit from takes 12/8/9/10
34) From Me To You - take 8 remnants
35) From Me To You - take 9 remnant
36) From Me To You - take 10 remnant
37) From Me To You - take 11
38) From Me To You - take 12 remnant
39) From Me To You - take 13
40) From Me To You - master edit, Barrett mix
41) From Me To You - edit of takes 8/9/10
DISC TWO continues the often testy March 5, 1963 session with all thirteen takes of “Thank You Girl” (and two stereo mixes), plus the unused session for “One After 909.” A couple of fake stereo mixes for “She Loves You” (done in 1966) lead us into a complete reel from September 12, 1963 - the lone surviving tape from the WITH THE BEATLES album sessions. The untrimmed stereo mix of “This Boy,” an amazing pair of “Can't Buy Me Love” outtakes from Paris, and the April 16, 1964 session for “A Hard Day's Night” close out this chapter.
1) Thank You Girl - Take 1 - 2:10
2) Thank You Girl - Takes 2-4 - 2:34
3) Thank You Girl - Take 5 - 2:06
4) Thank You Girl - Take 6 - 2:20
5) Thank You Girl - Takes 7+8 - 0:45
6) Thank You Girl - Take 9 - 0:30
7) Thank You Girl - Takes 10-12 - 2:16
8) Thank You Girl - Take 13 - 0:32
9) One After 909 - Take 1 - 1:21
10) One After 909 - Take 2 - 2:54
11) One After 909 - Take 3 - 1:45
12) One After 909 - Take 4 - 2:32
13) One After 909 - Take 5 - 1:14
14) One After 909 - Edit Of Takes 4+5, Barrett Mix - 2:57
15) Thank You Girl - Edit Of Takes 14+30 - 2:12
16) Thank You Girl - Take 30 - 2:06
17) She Loves You - RS1 - 2:23
18) She Loves You - RS2 - 2:27
19) Christmas Messages To Australia - Take 1 - 0:34
20) Christmas Messages To Australia - Take 2 - 0:56
21) Open Message To Australia - Take 1 - 0:40
22) Hold Me Tight - Rehearsal Take - 0:35
23) Hold Me Tight - Takes 20+21 - 2:59
24) Hold Me Tight - Take 22 - 0:51
25) Hold Me Tight - Takes 23+24 - 3:05
26) Hold Me Tight - Rehearsal Fragment - 0:05
27) Hold Me Tight - Take 25 - 0:20
28) Hold Me Tight - Take 26+Rehearsal Fragment - 2:40
29) Hold Me Tight - Take 27 - 0:15
30) Hold Me Tight - Take 28 - 1:37
31) Hold Me Tight - Take 29 - 2:45
32) Don't Bother Me - Take 10 - 2:47
33) Don't Bother Me - Takes 11+12 - 1:13
34) Don't Bother Me - Take 13 - 2:36
35) This Boy - Unedited RS15 - 2:35
36) Can't Buy Me Love - Take 2 - 2:13
37) Can't Buy Me Love - Take 3 - 0:45
38) A Hard Day's Night - Take 1 - 2:29
39) A Hard Day's Night - Takes 2-4 - 2:54
40) A Hard Day's Night - Take 5 - 2:38
41) A Hard Day's Night - Takes 6+7 - 4:30
42) A Hard Day's Night - Takes 8+9 - 2:30
DISC THREE contains a number of interesting BEATLES FOR SALE outtakes, beginning with an August 14, 1964 session which saw John Lennon shine brightly with his own composition, "I'm A Loser", and his torrid vocals on a pair of oldies. A remarkable alternate of "What You're Doing" (how did the ANTHOLOGY team miss this one?) precedes session tapes for both sides of the group's 8th single, and some half-hearted attempts to record a fan club Christmas message. 1965 is ushered in with the uncut "Ticket To Ride" and the making of its B-side. A pair of Lennon/McCartney rejects conclude the disc.
1) I’m A Loser - takes 1 + 2
2) I’m A Loser - take 3
3) I’m A Loser - takes 4-6
4) I’m A Loser - take 7
5) I’m A Loser - take 8
6) Mr. Moonlight - take 4
7) Leave My Kitten Alone - take 5
8) What You’re Doing - take 11
9) She’s A Woman - take 1
10) She’s A Woman - take 2
11) She’s A Woman - takes 3 + 4
12) She’s A Woman - take 5 or 7
13) She’s A Woman - take 6
14) I Feel Fine - take 1
15) I Feel Fine - take 2
16) I Feel Fine - take 5
17) I Feel Fine - take 6
18) I Feel Fine - take 7 announcement + chat
19) I Feel Fine - take 9
20) Christmas Message - take 1 (Hello Dolly)
21) Speech - take 1
22) Speech - take 2
23) Speech - takes 3 + 4
24) Ticket To Ride - take 2
25) Yes It Is - take 1
26) Yes It Is - take 2
27) Yes It Is - takes 3-9
28) Yes It Is - takes 10 + 11
29) Yes It Is - take 14
30) If You’ve Got Trouble - take 1
31) That Means A Lot - take 1
32) That Means A Lot - rehearsal fragments
1) How Do You Do It? - take 2
2) There’s A Place - take 1
3) There’s A Place - take 2
4) There’s A Place - takes 3 + 4
5) There’s A Place - takes 5 + 6
6) There’s A Place - takes 7 + 8
7) There’s A Place - take 9
8) There’s A Place - take 10
9) I Saw Her Standing There - take 1
10) I Saw Her Standing There - take 2
11) I Saw Her Standing There - take 3
12) I Saw Her Standing There - take 4
13) I Saw Her Standing There - take 5
14) I Saw Her Standing There - takes 6-9
15) Do You Want To Know A Secret - take 7
16) Do You Want To Know A Secret - take 8
17) A Taste Of Honey - take 6
18) A Taste Of Honey - take 7
19) There’s A Place - take 11
20) There’s A Place - takes 12 + 13
21) I Saw Her Standing There - take 10
22) I Saw Her Standing There - takes 11 + 12
23) Misery - take 1
24) Misery - takes 2-6
25) Misery - take 7
26) Misery - take 8
27) From Me To You - takes 1 + 2
28) From Me To You - take 3
29) From Me To You - take 4
30) From Me To You - take 5
31) From Me To You - takes 6 + 7
32) From Me To You - take 8 announcement
33) From Me To You - master edit from takes 12/8/9/10
34) From Me To You - take 8 remnants
35) From Me To You - take 9 remnant
36) From Me To You - take 10 remnant
37) From Me To You - take 11
38) From Me To You - take 12 remnant
39) From Me To You - take 13
40) From Me To You - master edit, Barrett mix
41) From Me To You - edit of takes 8/9/10
DISC TWO continues the often testy March 5, 1963 session with all thirteen takes of “Thank You Girl” (and two stereo mixes), plus the unused session for “One After 909.” A couple of fake stereo mixes for “She Loves You” (done in 1966) lead us into a complete reel from September 12, 1963 - the lone surviving tape from the WITH THE BEATLES album sessions. The untrimmed stereo mix of “This Boy,” an amazing pair of “Can't Buy Me Love” outtakes from Paris, and the April 16, 1964 session for “A Hard Day's Night” close out this chapter.
1) Thank You Girl - Take 1 - 2:10
2) Thank You Girl - Takes 2-4 - 2:34
3) Thank You Girl - Take 5 - 2:06
4) Thank You Girl - Take 6 - 2:20
5) Thank You Girl - Takes 7+8 - 0:45
6) Thank You Girl - Take 9 - 0:30
7) Thank You Girl - Takes 10-12 - 2:16
8) Thank You Girl - Take 13 - 0:32
9) One After 909 - Take 1 - 1:21
10) One After 909 - Take 2 - 2:54
11) One After 909 - Take 3 - 1:45
12) One After 909 - Take 4 - 2:32
13) One After 909 - Take 5 - 1:14
14) One After 909 - Edit Of Takes 4+5, Barrett Mix - 2:57
15) Thank You Girl - Edit Of Takes 14+30 - 2:12
16) Thank You Girl - Take 30 - 2:06
17) She Loves You - RS1 - 2:23
18) She Loves You - RS2 - 2:27
19) Christmas Messages To Australia - Take 1 - 0:34
20) Christmas Messages To Australia - Take 2 - 0:56
21) Open Message To Australia - Take 1 - 0:40
22) Hold Me Tight - Rehearsal Take - 0:35
23) Hold Me Tight - Takes 20+21 - 2:59
24) Hold Me Tight - Take 22 - 0:51
25) Hold Me Tight - Takes 23+24 - 3:05
26) Hold Me Tight - Rehearsal Fragment - 0:05
27) Hold Me Tight - Take 25 - 0:20
28) Hold Me Tight - Take 26+Rehearsal Fragment - 2:40
29) Hold Me Tight - Take 27 - 0:15
30) Hold Me Tight - Take 28 - 1:37
31) Hold Me Tight - Take 29 - 2:45
32) Don't Bother Me - Take 10 - 2:47
33) Don't Bother Me - Takes 11+12 - 1:13
34) Don't Bother Me - Take 13 - 2:36
35) This Boy - Unedited RS15 - 2:35
36) Can't Buy Me Love - Take 2 - 2:13
37) Can't Buy Me Love - Take 3 - 0:45
38) A Hard Day's Night - Take 1 - 2:29
39) A Hard Day's Night - Takes 2-4 - 2:54
40) A Hard Day's Night - Take 5 - 2:38
41) A Hard Day's Night - Takes 6+7 - 4:30
42) A Hard Day's Night - Takes 8+9 - 2:30
DISC THREE contains a number of interesting BEATLES FOR SALE outtakes, beginning with an August 14, 1964 session which saw John Lennon shine brightly with his own composition, "I'm A Loser", and his torrid vocals on a pair of oldies. A remarkable alternate of "What You're Doing" (how did the ANTHOLOGY team miss this one?) precedes session tapes for both sides of the group's 8th single, and some half-hearted attempts to record a fan club Christmas message. 1965 is ushered in with the uncut "Ticket To Ride" and the making of its B-side. A pair of Lennon/McCartney rejects conclude the disc.
1) I’m A Loser - takes 1 + 2
2) I’m A Loser - take 3
3) I’m A Loser - takes 4-6
4) I’m A Loser - take 7
5) I’m A Loser - take 8
6) Mr. Moonlight - take 4
7) Leave My Kitten Alone - take 5
8) What You’re Doing - take 11
9) She’s A Woman - take 1
10) She’s A Woman - take 2
11) She’s A Woman - takes 3 + 4
12) She’s A Woman - take 5 or 7
13) She’s A Woman - take 6
14) I Feel Fine - take 1
15) I Feel Fine - take 2
16) I Feel Fine - take 5
17) I Feel Fine - take 6
18) I Feel Fine - take 7 announcement + chat
19) I Feel Fine - take 9
20) Christmas Message - take 1 (Hello Dolly)
21) Speech - take 1
22) Speech - take 2
23) Speech - takes 3 + 4
24) Ticket To Ride - take 2
25) Yes It Is - take 1
26) Yes It Is - take 2
27) Yes It Is - takes 3-9
28) Yes It Is - takes 10 + 11
29) Yes It Is - take 14
30) If You’ve Got Trouble - take 1
31) That Means A Lot - take 1
32) That Means A Lot - rehearsal fragments
Set II
DISC FOUR, shrouded in a haze of herbal smoke, opens with a remake of the hapless "That Means A Lot". The session tape for "Help!" puts you smack dab in EMI #2 as the band struggles with, and ultimately conquers, one of their best numbers. October 1965 arrives bearing a great batch of RUBBER SOUL offcuts, many as good as the ones that ended up on the album. And best of all, the alternates of "I'm Looking Through You" and "12-Bar Original" are in true uncut stereo, unlike certain Apple releases.
1) That Means A Lot - take 20
2) That Means A Lot - take 22
3) That Means A Lot - takes 23 + 24
4) That Means A Lot - “test” take
5) Help! - take 1
6) Help! - takes 2 + 3
7) Help! - studio chat
8) Help! - take 4
9) Help! - take 5
10) Help! - take 6
11) Help! - tuning + chat
12) Help! - take 7
13) Help! - takes 8 + 9
14) Help! - take 10
15) Help! - take 11
16) Help! - take 12
17) Help! - RS from take 12
18) Run For Your Life - take 1 announcement
19) Run For Your Life - studio chat
20) Norwegian Wood (This Bird Has Flown) - take 1
21) Norwegian Wood (This Bird Has Flown) - take 1, alternate mix
22) Day Tripper - take 1
23) Day Tripper - takes 2 + 3
24) We Can Work It Out - take 1
25) Norwegian Wood (This Bird Has Flown) - take 2
26) Norwegian Wood (This Bird Has Flown) - take 4
27) I’m Looking Through You - take 1
28) I’m Looking Through You - take 1 alt. mix
29) We Can Work It Out - take 2
30) 12-Bar Original - takes 1 + 2
31) 12-Bar Original - rehearsal take
32) 12-Bar Original - RM1
DISC FIVE concludes the SOUL tapes with the only lengthy "Beatles working at Abbey Road" recording known to exist - a 19-minute look at the November 8th, 1965 "Think For Yourself" vocal overdub session. The only major disappointment in this treasury of tapes is the lack of any outtakes from the REVOLVER LP. Barrett and Scott did audition "For No One" and "Here There And Everywhere" (found on the "bag tapes"), but all we have to represent that fertile time are both takes of "Paperback Writer" and the stereo mix of "Rain". Softening that blow is an in-depth chronicle of "Strawberry Fields Forever" from serene start to freaky finish, as well as some vintage 1967 mixes of its flipside.
1) Beatle Speech - take 1
2) I’m Looking Through You - take 4
3) Paperback Writer - take 1
4) Paperback Writer - take 2
5) Rain - untrimmed RS1
6) Strawberry Fields Forever - take 1
7) Strawberry Fields Forever - take 1 alt. mix
8) Strawberry Fields Forever - take 2
9) Strawberry Fields Forever - takes 3 + 4
10) Strawberry Fields Forever - takes 5 + 6
11) Strawberry Fields Forever - rehearsal takes
12) Strawberry Fields Forever - take 7
13) Strawberry Fields Forever - RM3 from take 7
14) Strawberry Fields Forever - take 25
15) Strawberry Fields Forever - RM9
16) Strawberry Fields Forever - take 26
17) Penny Lane - RM8
18) Penny Lane - RM9
19) Penny Lane - RM10
1) That Means A Lot - take 20
2) That Means A Lot - take 22
3) That Means A Lot - takes 23 + 24
4) That Means A Lot - “test” take
5) Help! - take 1
6) Help! - takes 2 + 3
7) Help! - studio chat
8) Help! - take 4
9) Help! - take 5
10) Help! - take 6
11) Help! - tuning + chat
12) Help! - take 7
13) Help! - takes 8 + 9
14) Help! - take 10
15) Help! - take 11
16) Help! - take 12
17) Help! - RS from take 12
18) Run For Your Life - take 1 announcement
19) Run For Your Life - studio chat
20) Norwegian Wood (This Bird Has Flown) - take 1
21) Norwegian Wood (This Bird Has Flown) - take 1, alternate mix
22) Day Tripper - take 1
23) Day Tripper - takes 2 + 3
24) We Can Work It Out - take 1
25) Norwegian Wood (This Bird Has Flown) - take 2
26) Norwegian Wood (This Bird Has Flown) - take 4
27) I’m Looking Through You - take 1
28) I’m Looking Through You - take 1 alt. mix
29) We Can Work It Out - take 2
30) 12-Bar Original - takes 1 + 2
31) 12-Bar Original - rehearsal take
32) 12-Bar Original - RM1
DISC FIVE concludes the SOUL tapes with the only lengthy "Beatles working at Abbey Road" recording known to exist - a 19-minute look at the November 8th, 1965 "Think For Yourself" vocal overdub session. The only major disappointment in this treasury of tapes is the lack of any outtakes from the REVOLVER LP. Barrett and Scott did audition "For No One" and "Here There And Everywhere" (found on the "bag tapes"), but all we have to represent that fertile time are both takes of "Paperback Writer" and the stereo mix of "Rain". Softening that blow is an in-depth chronicle of "Strawberry Fields Forever" from serene start to freaky finish, as well as some vintage 1967 mixes of its flipside.
1) Beatle Speech - take 1
2) I’m Looking Through You - take 4
3) Paperback Writer - take 1
4) Paperback Writer - take 2
5) Rain - untrimmed RS1
6) Strawberry Fields Forever - take 1
7) Strawberry Fields Forever - take 1 alt. mix
8) Strawberry Fields Forever - take 2
9) Strawberry Fields Forever - takes 3 + 4
10) Strawberry Fields Forever - takes 5 + 6
11) Strawberry Fields Forever - rehearsal takes
12) Strawberry Fields Forever - take 7
13) Strawberry Fields Forever - RM3 from take 7
14) Strawberry Fields Forever - take 25
15) Strawberry Fields Forever - RM9
16) Strawberry Fields Forever - take 26
17) Penny Lane - RM8
18) Penny Lane - RM9
19) Penny Lane - RM10
Set III
DISC SIX begins with the only real stretch of these discs without "replayability" - nine tedious stereo remixes (some aborted) of "A Day In The Life". Still, this is the only SGT. PEPPER tape in this collection, and the set wouldn't be complete without it. The mono BBC feed of "All You Need Is Love" puts us right in Studio 1 during the momentous broadcast. Acid reigns on the tape-loop festooned "Flying", and the Ringo-heavy initial take of "Hello Goodbye". Alternate mixes of the basic "Lady Madonna" track follow, and then another treat: "Ob-La-Di, Ob-La-Da" and "While My Guitar Gently Weeps" in their early incarnations, and with no Emerick interference! Wrapping things up, a pair of "Hey Jude" takes sandwiching some Macca improvs.
1) A Day In The Life - RS1
2) A Day In The Life - RS2
3) A Day In The Life - RS3
4) A Day In The Life - RS4
5) A Day In The Life - RS5
6) A Day In The Life - RS6
7) A Day In The Life - RS7
8) A Day In The Life - RS8
9) A Day In The Life - RS9
10) All You Need Is Love - take 59
11) Flying - take 8 + overdub takes 1-5
12) Hello Goodbye - take 1
13) Lady Madonna - take 4
14) Lady Madonna - take 4, alt. mix
15) Lady Madonna - take 5
16) Ob-La-Di, Ob-La-Da - take 5
17) While My Guitar Gently Weeps - take 1
18) Hey Jude - take 7?
19) "Las Vegas Tune"
20) St. Louis Blues
21) Hey Jude - takes 8 + 9
DISC SEVEN continues with more lovely and untampered WHITE ALBUM rejects: George's "Not Guilty" and John's "What's The New Mary Jane," as you CAN'T hear them on ANTHOLOGY 3. The GET BACK sessions are well represented by a slew of rock and roll oldies in stereo, as well as two mixes (a Glyn and a Phil) of "Teddy Boy." George's solo demos are a treat to hear in alternate mixes, as is a clean "Come And Get It" from Paul. The disc wraps up with odds and ends: "Because" vocals, with and without instrumentation, Ringo's TV remake of "Octopus's Garden," and finally Glyn John's unused January 1970 mixes for two songs later "reproduced" by Phil Spector
1) Hey Jude - RS from take 9
2) Not Guilty - take 102
3) untitled jam
4) What's The New Mary Jane - take 4
5) I Will - take 19 (Can You Take Me Back)
6) I Will - take 30 (Down In Havana)
7) I Will - take 34-36 (Step Inside Love/Los Paranoias/The Way You Look Tonight)
8) Teddy Boy - DDSI 24.33
9) Teddy Boy - RS1
10) Rip It Up/Shake Rattle And Roll - DDSI 26.56/26.57
11) Miss Ann/Kansas City/Lawdy Miss Clawdy - DDSI 26.58
12) Blue Suede Shoes - DDSI 26.59
13) Cannonball/Not Fade Away/Hey Little Girl/Bo Diddley - DDSI 29.49
14) Mailman Bring Me No More Blues - DDSI 29.53
15) Old Brown Shoe - take 2
16) All Things Must Pass - take 2
17) Come And Get It - take 1
18) Because - take 16 vocals
19) Because - take 16
20) Octopus's Garden - take 10
21) Across The Universe - RS3
22) I Me Mine - RS1
1) A Day In The Life - RS1
2) A Day In The Life - RS2
3) A Day In The Life - RS3
4) A Day In The Life - RS4
5) A Day In The Life - RS5
6) A Day In The Life - RS6
7) A Day In The Life - RS7
8) A Day In The Life - RS8
9) A Day In The Life - RS9
10) All You Need Is Love - take 59
11) Flying - take 8 + overdub takes 1-5
12) Hello Goodbye - take 1
13) Lady Madonna - take 4
14) Lady Madonna - take 4, alt. mix
15) Lady Madonna - take 5
16) Ob-La-Di, Ob-La-Da - take 5
17) While My Guitar Gently Weeps - take 1
18) Hey Jude - take 7?
19) "Las Vegas Tune"
20) St. Louis Blues
21) Hey Jude - takes 8 + 9
DISC SEVEN continues with more lovely and untampered WHITE ALBUM rejects: George's "Not Guilty" and John's "What's The New Mary Jane," as you CAN'T hear them on ANTHOLOGY 3. The GET BACK sessions are well represented by a slew of rock and roll oldies in stereo, as well as two mixes (a Glyn and a Phil) of "Teddy Boy." George's solo demos are a treat to hear in alternate mixes, as is a clean "Come And Get It" from Paul. The disc wraps up with odds and ends: "Because" vocals, with and without instrumentation, Ringo's TV remake of "Octopus's Garden," and finally Glyn John's unused January 1970 mixes for two songs later "reproduced" by Phil Spector
1) Hey Jude - RS from take 9
2) Not Guilty - take 102
3) untitled jam
4) What's The New Mary Jane - take 4
5) I Will - take 19 (Can You Take Me Back)
6) I Will - take 30 (Down In Havana)
7) I Will - take 34-36 (Step Inside Love/Los Paranoias/The Way You Look Tonight)
8) Teddy Boy - DDSI 24.33
9) Teddy Boy - RS1
10) Rip It Up/Shake Rattle And Roll - DDSI 26.56/26.57
11) Miss Ann/Kansas City/Lawdy Miss Clawdy - DDSI 26.58
12) Blue Suede Shoes - DDSI 26.59
13) Cannonball/Not Fade Away/Hey Little Girl/Bo Diddley - DDSI 29.49
14) Mailman Bring Me No More Blues - DDSI 29.53
15) Old Brown Shoe - take 2
16) All Things Must Pass - take 2
17) Come And Get It - take 1
18) Because - take 16 vocals
19) Because - take 16
20) Octopus's Garden - take 10
21) Across The Universe - RS3
22) I Me Mine - RS1
Comment
In the spring of 1983, engineer John Barrett and disc jockey Roger Scott landed what many would consider a dream job: listening to Beatles studio session tapes in a mixing suite at Abbey Road. Barrett had been in charge of cataloging EMI’s Beatles tape library for over a year, and Scott was brought in to assist him in shaping an audiovisual presentation for the public, The Beatles At Abbey Road.
As they auditioned various recordings, Barrett made cassette compilations of various outtakes, creating fresh stereo mixes from the multitracks. Scott also took the liberty of dubbing some session reels from start to finish, along with a few vintage mixes. The result was nearly eight hours of pristine-quality unreleased Beatle material which ended up on various bootlegs over the last 25 years: Ultra Rare Trax, Unsurpassed Masters, et al.
We have compiled ALL of the Barrett/Scott tapes here, straight from the vaults to your ears. All that's missing are the low-fi offline “bag tapes” recorded stealthily by Scott. Not only do those repeat much of this material, they would interrupt what is a pleasant listening experience. The tapes have been sorted in chronological order, speed-corrected, and edited for completeness from various best sources. No noise reduction or equalization has been employed. Sit back, relax, and for God’s sake be quiet! The Red Light's On!
As they auditioned various recordings, Barrett made cassette compilations of various outtakes, creating fresh stereo mixes from the multitracks. Scott also took the liberty of dubbing some session reels from start to finish, along with a few vintage mixes. The result was nearly eight hours of pristine-quality unreleased Beatle material which ended up on various bootlegs over the last 25 years: Ultra Rare Trax, Unsurpassed Masters, et al.
We have compiled ALL of the Barrett/Scott tapes here, straight from the vaults to your ears. All that's missing are the low-fi offline “bag tapes” recorded stealthily by Scott. Not only do those repeat much of this material, they would interrupt what is a pleasant listening experience. The tapes have been sorted in chronological order, speed-corrected, and edited for completeness from various best sources. No noise reduction or equalization has been employed. Sit back, relax, and for God’s sake be quiet! The Red Light's On!
Last Changed By
Tim Blake
Click 'Edit Show' or the 'Set I(II)(III)' or 'Comment' text to make corrections.
If this is a duplicate or incorrect entry and should be merged, use the Request Merge page.
If this is a duplicate or incorrect entry and should be merged, use the Request Merge page.
etreedb.org
For administrative requests email contact@etreedb.org
This website written by Tom H Anderson and maintained by the etreedb.org community.
For administrative requests email contact@etreedb.org
This website written by Tom H Anderson and maintained by the etreedb.org community.
Cached: Sat, 27 Apr 2024 12:15:28 EDT