June 12, 2020

The Lost Album Box Set Bootleg Series - 30 CDs Remastered

The Beatles Lost Album series started with 6 CDs, then was expanded to 14 CDs, with additional volumes added. A Boxed set of 30 CDs was also released. Sound is excellent with noise reduction and pitch correction. Some of this material has been released before, others are new, with partial takes merged together.

"The Beatles - The Lost Album - 2017 - 320 kbps - Bootleg - Extended Edition (6 CDS) NOT FOR SALE! Amazing rare and ultra rare unreleased Beatles songs. This is the best Beatles Bootleg so far, on best quality. The album had a great production and sounds like a George Martin/Jeff Lynne's production (as in the sensitivity to choose tracklist order, fix tracks, clean up, tracks transitions, cover art, etc.). The collection is incredibly complete of unreleased Beatles tracks (only few songs were left out: some covers/blues/jam with low quality-performance production). In short: unlike most bootlegs that are just a put together rarities, this album is very well-architected in its concept and you feel the pleasure of listening to a "lost classic Beatles album".

(because it is a bootleg (not for sale) I believe that there is no problem posting the download link here (if it is not allowed, I apologize to the administrators, just delete the link, but keep the topic, because what matters is the general knowledge of the album).


CD 1.

01. Free As A Bird (4:24)

02. Not Guilty (3:32)

03. Real Love (3:53)

04. Come And Get It (2:29)

05. Goodbye (2:24)

06. Christmas Time (Is Here Again) (3:03)

07. Sour Milk Sea (Edit) (3:54)

08. Step Inside Love (3:30)

- Los Paranoias

09. Mailman, Bring Me No More Blues (Cover) (1:58)

10. What's The New Mary Jane (7:05)

- St. Louis Blues (Cover)

11. There You Are, Eddie (4:52)

- Can You Take Me Back?

12. Shake Rattle And Roll (Cover) (2:00)

13. Three Cool Cats (Cover) (1:49)

14. Jessie's Dream (17:19)

- I Look Out The Window

- Suicide

- Heather

- Paul's Piano Piece

- A Case Of The Blues

- Adagio For Strings (Cover)

- The Way You Look Tonight

- Gone Tomorrow Here Today

- Isn't It A Pity

- Mama You Been On My Mind (Cover)

CD 2.

01. Junk (2:24)

02. All Things Must Pass (Acoustic) (1:58)

03. Child Of Nature (2:37)

04. Teddy Boy (3:18)

05. Down In Havana (4:25)

- Honey Pie

- We Can Work It Out

- Dehra Dun

- Los Paranoias

06. I Lost My Little Girl (3:03)

07. Suzy Parker (2:00)

08. Shirley's Wild Accordion (1:54)

09. 12-Bar Original (2:54)

10. Because I Know You Love Me So (5:18)

- A Beginning

- Because I Know You Love Me So

- Adagio For Strings (Cover)

- Yellow Submarine in Pepperland

11. Eleanor Rigby (Strings) (2:06)

12. Circles (2:10)

13. The Palace of the King of the Birds (6:37)

- The Walk (Cover)

- Blue Suede Shoes (Cover)

14. Apple Jam (2:20)

15. Ain't She Sweet (Cover) (2:08)

16. Across The Universe (Band) (2:44)

17. All Things Must Pass (Band) (2:55)

18. Watching Rainbows (Edit) (4:01)

CD 3.

01. He Said, He Said (25:24)

- On the Bed

- Love In The Open Air

- The Back Seat Of My Car

- Look At Me

- The Magicians

- When I Was A Robber

- Las Vegas Tune

- Hi Ho Silver (Cover)

- Chi Chi Cha

- Song Of Love

- Gimme Some Truth

- I Lost My Little Girl

- How Do You Do

- In The Middle Of An Island (Cover)

- Save The Last Dance For Me (Cover)

- High Heeled Sneakers (Cover)

- Oh My Love

- Two Virgins

- He Said, He Said

- Everyone Had a Hard Year

02. Dig It (23:32)

- Maggie Mae (Traditional)

- Cold Turkey

- Brazil

- Give Peace A Chance

- Dig It

- Oh Yoko

- Dig It

- Theme From The Family Way

- Woman is the N—r of the World

- Hear Me Lord

- Every Night

- I'd Have You Anytime

- Another Day

- Nowhere To Go

- Every Night

- Woman is the N—r of the World

- Happy Xmas

- Give Chance A Peace

- Dig It

03. River Rhine (13:10)

- Hello Dolly (Cover)

- Sure To Fall In Love with You (Cover)

- Dolly (Cover)

- I Fancy Me Chances

- Spiritual Regeneration

- Kansas City /Lawdy Miss Clawdy (Cover)

- River Rhine

- "The Threetles Medley":

Thinking of Linking

Baby, What Do You Want Me to Do (Cover)

Ain't She Sweet (Cover)

04. Blue Moon Of Kentucky (Cover) (5:51)

- Madman (Edit)

05. Now and Then (Collage) (3:03)

06. Every Mother Comes Anytime (Collage) (0:42)

CD 4: The Beginning.

01. If You've Got Troubles (2:22)

02. That Means A Lot (2:28)

03. Leave My Kitten Alone (Cover) (2:58)

04. Love Of The Loved (1:49)

05. Bad To Me (2:09)

06. I'll Be On My Way (2:00)

07. One And One Is Two (1:56)

08. Hello Little Girl (1:41)

09. Three Cool Cats (Cover) (2:26)

10. September In The Rain (Cover) (1:57)

11. Ain't She Sweet (Cover) (2:15)

12. Reeperbahn Bop (3:06)

13. Take Good Care Of My Baby (Cover) (2:29)

14. Cry For A Shadow (2:24)

15. Crying, Waiting, Hoping (Cover) (2:04)

16. To Know Her Is To Love Her (Cover) (2:37)

17. Catswalk (1:24)

18. I'm In Love (2:13)

- It's For You

- A World Without Love

19. Johnny B Goode (Cover) (2:51)

20. Memphis, Tennessee (Cover) (2:22)

21. Lucille (Cover) (1:50)

22. Too Much Monkey Business (Cover) (2:04)

23. Like Dreamers Do (2:35)

24. Besame Mucho (Cover) (2:34)

25. You Know What To Do (1:58)

26. Don't Ever Change (Cover) (2:02)

27. Cayenne (2:29)

28. That'll Be The Day (Cover) (12:46)

- I Will Always Be In Love With You (Cover) (hidden track)

- Wild Cat (Cover) (hidden track)

- You Must Write Every Day (hidden track)

- Somedays (hidden track)

- Well Darling (hidden track)

29. In Spite Of All The Danger (2:44)

30. You'll Be Mine (1:38)

CD 5: (Bonus Disc).

01. Lend Me Your Comb (Cover) (1:49)

02. I'm Gonna Sit Right Down And Cry (Cover) (2:02)

03. The Honeymoon Song (Cover) (1:39)

04. The Hippy Hippy Shake (Cover) (1:46)

05. Lonesome Tears in My Eyes (Cover) (2:36)

06. Searchin' (Cover) (1:03)

07. The Shiek Of Araby (Cover) (1:02)

08. I Just Don't Understand (Cover) (1:46)

09. That's All Right (Mama) (Cover) (2:32)

10. A Shot Of Rhythm And Blues (Cover) (2:16)

11. I Got A Woman (Cover) (2:33)

12. Sure To Fall (Cover) (2:04)

13. Ooh! My Soul (Cover) (1:37)

14. So How Come (Cover) (1:55)

15. Some Other Guy (Cover) (2:01)

16. Sweet Little Sixteen (Cover) (2:21)

17. I Got To Find My Baby (Cover) (1:57)

18. Glad All Over (Cover) (1:52)

19. Carol (Cover) (2:36)

20. Young Blood (Cover) (1:55)

21. Clarabella (Cover) (2:39)

22. Nothin' Shakin' (Cover) (2:59)

23. Beautiful Dreamer (Cover) (1:46)

24. I'm Talking About You (Cover) (1:52)

25. Dream Baby (Cover) (1:59)

26. I Forgot To Remember To Forget (Cover) (2:06)

27. Keep Your Hands Off My Baby (Cover) (2:31)

28. Soldier Of Love (Cover) (1:59)

29. Shout (Cover) (1:01)

30. Hallelujah I Love Her So (Cover) (2:27)

- That's When Your Heartaches Begin (Cover) (hidden track)

31. Star Club (17:44)

- Red Sails In The Sunset (Cover)

- Be-Bop-A-Lula (Cover)

- Where Have You Been All My Life (Cover)

- Your Feet's Too Big (Cover)

- Hallelujah I Love Her So (Cover)

- Little Queenie (Cover)

- Falling In Love Again (Cover)

- Shimmy Shake (Cover)

- I Remember You (Cover)

- Reminiscing (Cover)

- Sheila (Cover)

- Red Hot (Cover)

CD 6: (Bonus Disc).

01. Gnik Nus (17:15)

- Magica Mellotron Music

- I Look Out The Window

- Her Majesty

- While My Guitar Gently Weeps (Acoustic)

- Gnik Nus

- Tomorrow Never Knows /Within You Without You

- Hot As Sun

- How Do You Tell Someone

- Take This Hammer/Long Lost John (Cover)

- Cat Mama/Black Dog Blues (Cover)

- Singing The Blues (Cover)

02. Let It Back (20:32)

- Rock And Roll Music (Cover)

- I'll Wait Till Tomorrow

- High-Heel Sneakers (Cover)

- Won't You Please Say Goodbye

- Miss Ann/Kansas City /Lawdy Miss Clawdy (Cover)

- Penina

- Good Rockin Tonite (Cover)

- Too Bad About Sorrows

- Jessie's Dream

- He Said, He Said

- The Palace of the King of the Birds

- Ramblin Woman

- The Palace of the King of the Birds

03. I Told You Before (28:48)

- Michael Row The Boat Ashore (Cover)

- Taking a Trip To Carolina

- Short Fat Fanny (Cover)

- Hey Little Girl (Cover)

- I Told You Before

- All I Want Is You

- Jenny Jenny Slippin And Slidin (Cover)

- Twenty Flight Rock (Cover)

- Bring It On Home To Me (Cover)

- One Blue

- Los Paranoias

- Crying Waiting Hoping (Cover)

- Apple Jam

04. Revolution 20 (12:57)

- Because (A Capella)

- Fields

- I'm Only Sleeping (Instrumental)

- Revolution 1

- A Day In The Life

- Revolution 1

'The Lost Album' was born from the idea of gathering for the first time all the Beatles unreleased compositions, performed by themselves, as well as cover versions that were not included in any official album.

Many of these tracks come from demos, home recordings, rehearsals, etc, so the original quality is low. In this album we try to improve the audio quality as much as possible, recovering audio drops, fixing technical problems, recording failures and so on.

Software tools have been used to clean, remaster and enhance the tracks, without ever losing the fidelity of their originals. Short and unfinished songs were sewn into each other, with soft transitions, resulting in a more consistent track.

The overdubs and collages used were extracted from original Beatles material.

Notes 1:

Six-CD box set compilation of Beatles unreleased tracks. (Never released in any studio album*(1) or as singles*(2)).

All tracks (*3) are from the Beatles activity period: 1958 to 1969 / plus Anthology sessions: 1994/95.

*1 - exception to: 'Yellow Submarine in Pepperland ', 'Maggie Mae ', 'Her Majesty ', 'Tomorrow Never Knows /Within You Without You '.

*2 - exception to: 'Free As A Bird ', 'Real Love ' and 'Christmas Time (Is Here Again)' (1995/96 singles).

*3 - exception to: 'Now and Then' and 'Every Mother Comes Anytime' - solo collages.

The box comprises nearly 100% of THE Beatles original compositions and cover tracks unpublished or not officially released. Only few songs were left out: some covers/jam/short compositions with low quality-performance production.

The tracks consist of original Beatles material*. All overdubs are also extracted from original Beatles material.*

*Exception to:

- 'Now and Then'*(1) and 'Every Mother Comes Anytime' - collages of Beatles members solo careers and fan overdub (1).

- 'While My Guitar Gently Weeps ' - new arrangements (over the original demo) by George Martin for the Cirque du Soleil soundtrack,2006.

- 'Watching Rainbows' (only in the final part - jam) - added a bass overdub made by fan, using strictly the same Paul's model bass and strings.

- 'Hot As Sun' - features sea sounds*(1) overdub to fill in the problems of the original tape. (1) - extracted from the McCartney's Oobu Joobu radio show outtakes.

Notes 2:

- 'Sour Milk Sea' was composed and produced by George Harrison in 1968 for the singer Jackie Lomax. Performed by:

George Harrison : acoustic guitar, lead guitar (solo)

Paul McCartney : bass / Ringo Starr : drums

Jackie Lomax: vocals / Eric Clapton: lead guitar / Nicky Hopkins: piano

In the presented version was added the original Harrison vocal (extracted from the original demo) over the Lomax vocals.

- 'On the Bed' from Harrison's 'Wonderwall Music', recorded in 1968, during the Beatles activity period. Harrison produced, composed and played the piano and sitar on this track.

- 'Love In The Open Air' and 'Theme From The Family Way ' from McCartney's 'The Family Way (soundtrack)', recorded in 1966, during the Beatles activity period. The George Martin Orchestra perfomed Paul's compositions.

- 'Two Virgins ' shorts extracts from John Lennon (and Yoko) album 'Unfinished Music No.1: Two Virgins ', recorded in 1968, during the Beatles activity period. John play several instruments.

- 'Reeperbahn Bop' (My Bonnie and The Saints)*(1), 'Be-Bop-A-Lula'*(2) and 'Hallelujah I Love Her So'*(3) extracts from the instrumental parts performed by Beatles sung by other vocalists (1)Tony Sheridan, (2) Fred Fascher, (3) Horst Fascher.

We hope everyone will experience a magical mistery tour.

- The Producers
2017 - UK - Not For Sale!
A later Lost Album Boxed Set of 30 CDs was released. Below are the cover scans with track information.

Source: https://www.beatlesbible.com/forum/yesterday-and-today/pimp-your-stuff/the-beatles-the-lost-album-2017/

More info and scans here:

March 31, 2020

Peter Jackson’s The Beatles: Get Back set for cinema release in September 2020

The long-awaited Beatles documentary by The Lord Of The Rings director Peter Jackson will receive a cinema release in the USA and Canada on 4 September 2020, with global release details to follow.

The Beatles: Get Back documents the recording of the group’s Let It Be album. It contains previously-unseen footage culled from 55 hours of material filmed by director Michael Lindsay Hogg in January 1969, plus 140 hours of audio from the sessions.

The new film’s music will be mixed by Giles Martin and Sam Okell at Abbey Road Studios, London.
Jackson’s film, which was announced in January 2019, will also include The Beatles’ entire concert on Apple’s rooftop on 30 January 1969. An edited version of the group’s final live appearance was included in the Let It Be film, released in May 1970.

A restored version of the Let It Be film will follow the release of The Beatles: Get Back. The original film was shot while The Beatles rehearsed and recorded at Twickenham Film Studios and the band’s own Apple Studios.

The Beatles at Twickenham Film Studios, January 1969 (photo: Linda McCartney)

The Beatles at Twickenham Film Studios, January 1969 (photo: Linda McCartney)
The worldwide distribution rights for the The Beatles: Get Back have been acquired by The Walt Disney Studios. A new hardcover book, titled Get Back, will also be published by Callaway Arts & Entertainment on 6 October 2020 in the USA, and 15 October in the UK.
Here’s the full press release:
BURBANK, Calif. (March 11, 2020)—The Walt Disney Studios has acquired the worldwide distribution rights to acclaimed filmmaker Peter Jackson’s previously announced Beatles documentary. The film will showcase the warmth, camaraderie and humor of the making of the legendary band’s studio album, “Let It Be,” and their final live concert as a group, the iconic rooftop performance on London’s Savile Row. “The Beatles: Get Back” will be released by The Walt Disney Studios in the United States and Canada on September 4, 2020, with additional details and dates for the film’s global release to follow. The announcement was made earlier today by Robert A. Iger, Executive Chairman, The Walt Disney Company, at Disney’s annual meeting of shareholders.
“No band has had the kind of impact on the world that The Beatles have had, and ‘The Beatles: Get Back’ is a front-row seat to the inner workings of these genius creators at a seminal moment in music history, with spectacularly restored footage that looks like it was shot yesterday,” says Iger of the announcement. “I’m a huge fan myself, so I could not be happier that Disney is able to share Peter Jackson’s stunning documentary with global audiences in September.”
“The Beatles: Get Back,” presented by The Walt Disney Studios in association with Apple Corps Ltd. and WingNut Films Productions Ltd., is an exciting new collaboration between The Beatles, the most influential band of all time, and three-time Oscar®-winning filmmaker Peter Jackson (“The Lord of the Rings” trilogy). Compiled from over 55 hours of unseen footage, filmed by Michael Lindsay-Hogg in 1969, and 140 hours of mostly unheard audio recordings from the “Let It Be” album sessions, “The Beatles: Get Back” is directed by Jackson and produced by Jackson, Clare Olssen (“They Shall Not Grow Old”) and Jonathan Clyde, with Ken Kamins and Apple Corps’ Jeff Jones serving as executive producers.
The footage has been brilliantly restored by Park Road Post Production of Wellington, New Zealand, and is being edited by Jabez Olssen, who collaborated with Jackson on 2018’s “They Shall Not Grow Old,” the groundbreaking film which featured restored and colorized World War I archival footage. The music in the film will be mixed by Giles Martin and Sam Okell at Abbey Road Studios in London. With this pristine restoration behind it, “The Beatles: Get Back” will create a vivid, joyful and immersive experience for audiences.
Peter Jackson says, “Working on this project has been a joyous discovery. I’ve been privileged to be a fly on the wall while the greatest band of all time works, plays and creates masterpieces. I’m thrilled that Disney have stepped up as our distributor. There’s no one better to have our movie seen by the greatest number of people.”
Paul McCartney says, “I am really happy that Peter has delved into our archives to make a film that shows the truth about The Beatles recording together. The friendship and love between us comes over and reminds me of what a crazily beautiful time we had.”
Ringo Starr says, “I’m really looking forward to this film. Peter is great and it was so cool looking at all this footage. There was hours and hours of us just laughing and playing music, not at all like the version that came out. There was a lot of joy and I think Peter will show that. I think this version will be a lot more peace and loving, like we really were.”
“The Beatles: Get Back” is also being made with the enthusiastic support of Yoko Ono Lennon and Olivia Harrison.
Although the original “Let It Be” film, directed by Michael Lindsay-Hogg, and the accompanying album were filmed and recorded in January 1969, they were not released until May 1970, three weeks after The Beatles had officially broken up. The response to the film at the time by audiences and critics alike was strongly associated with that announcement. During the 15-month gap between the filming of “Let It Be” and its launch, The Beatles recorded and released their final studio album, “Abbey Road,” which came out in September 1969.
Shot on 16mm and blown up to 35mm, the 80-minute “Let It Be” movie was built around the three weeks of filming, including an edited version of the rooftop concert. The GRAMMY®-winning “Let It Be” album topped the charts in the U.S. and the U.K.
The new documentary brings to light much more of the band’s intimate recording sessions for “Let It Be” and their entire 42-minute performance on the rooftop of Apple’s Savile Row London office. While there is no shortage of material of The Beatles’ extensive touring earlier in their careers, “The Beatles: Get Back” features the only notable footage of the band at work in the studio, capturing John Lennon, Paul McCartney, George Harrison and Ringo Starr as they create their now-classic songs from scratch, laughing, bantering and playing to the camera.
Shot on January 30, 1969, The Beatles’ surprise rooftop concert marked the band’s first live performance in over two years and their final live set together. The footage captures interactions between the band members, reactions from fans and employees from nearby businesses, and comical attempts to stop the concert by two young London policemen responding to noise complaints.

A fully restored version of the original “Let It Be” film will be made available at a later date.

Source: https://www.beatlesbible.com/2020/03/11/peter-jackson-beatles-get-back-cinema-release-september-2020/

How Apple Constructed Let It Be Naked

How Apple Constructed Let It Be Naked-
The Naked Truth About The Beatles' Let It BeNaked
Jan 1, 2004 12:00 PM, By Matt Hurwitz – Mix Magazine

Ever wondered what The Beatles' Let It Be album would have sounded like had it been properly completed instead of released as a companion disc to their 1970 fly-on-the-wall motion picture of the same name? Such was the charge given to EMI's Abbey Road Studios by the group's Apple Corps Ltd. The result is the recently released Let It Be…Naked (Apple/Capitol-EMI).

After the tumultuous sessions for the 1968 album The Beatles (aka, The White Album), the Fabs regrouped at Twickenham Film Studios in London in January 1969 to make a TV special showing the group rehearsing and recording an album. The concept was a “warts and all” view of the band with no overdubs; everything was as live as possible. After those sessions broke down, the production moved to the basement studio of The Beatles' own Apple offices, where recording continued through the month. The sessions culminated in a historic live performance (The Beatles' last) on the office's rooftop on January 30 of the same year with their new temporary “fifth Beatle,” keyboardist Billy Preston (himself an Apple recording artist by the end of the sessions), who played on the studio recordings, as well.

Glyn Johns, who had recorded the sessions, was given the task of mixing and compiling the recordings into an LP (originally titled Get Back) in May of that year, though the group chose not to release it. Johns tried a second compilation in January 1970, though that version also failed to see the light of day. John Lennon, on new manager Allen Klein's advice, brought in legendary producer Phil Spector to revamp the album in March 1970, which he did, adding orchestration to three tracks and editing others. The result — with studio chatter and quips intact — was the May 1970 Apple release Let It Be, The Beatles' last original album (although , which came out in 1969, was actually recorded after Let It Be).

In February 2002, following a chance meeting of Paul McCartney and the film's original director, Michael Lindsay-Hogg, Abbey Road veteran Allan Rouse received a call from Apple's Neil Aspinall asking him to take a stab at remixing the album. Rouse had acted as project coordinator for a number of Beatles remix projects, among them The Beatles Anthology, Yellow Submarine Songtrack and Lennon's Imagine. While the task for those projects had always been to re-create the original mixes known to millions of fans using current technology, the charge for the Let It Be project was different.

“This was not an attempt to remaster an existing album,” Rouse says. “We were asked to make it sound the way the band had believed the finished album was going to sound.” This meant, for the most part, producing mixes that reflected only what the four bandmembers (or five, including Preston) could play live: no overdubbed guitars or vocals, and certainly no orchestras.

In addition, all of the between-song chatter, breakdowns, jokes and ditties — including “Maggie Mae” and the “Dig It” jam — were dropped. Says Rouse, “They just didn't really fit in with an album of 11 songs and neither did the dialog. Those little bits were fine for a soundtrack album, which Glyn's was, but they didn't fit comfortably with the concept of a straight album.”

Rouse tapped two young staff engineers, Paul Hicks and Guy Massey, for the job. Both had worked on prior Beatles projects (and had, coincidentally, started at the studio on the same day in 1994), including the 5.1 surround mixes for the recently released The Beatles Anthology DVD set.

The group took a team approach, making decisions democratically, each chipping in suggestions but deciding with one voice. During a two-week period, the three listened to all 30 reels of 1-inch 8-track session tapes, which had been recorded through a pair of borrowed 4-track consoles onto a 3M 8-track machine. As a reference, the producer/engineers also studied the released Spector album and both of Johns' versions. “We mainly listened to identify the takes they used,” says Rouse. They also noted where Spector had made any edits, deciding if there was a good reason to either keep or discard those edits. “As it turns out, Glyn and Phil had done most of the legwork. We ended up using the vast majority of their takes.”

But because the group's mission was to make the best possible album, they didn't limit themselves to what had been done previously. “Once we started, we would A/B against the Spector disc to see if what we were doing was an improvement,” says Massey.

Upon listening to the tapes in Rouse's room at the studio, they were transferred into Pro Tools 5.2 using a Prism Sound Dream ADA 8 A/D converter. And, as part of the improvement process, once the recordings were in the digital world, the engineers began researching which takes were the best performances, and, if more than one take of a song had strong attributes, trial edits were made to see what combination would make the best overall performance. “Once we had the building blocks in the digital domain,” says Massey, “we'd delve into a bit more detail. If there were fluffed lines or pops, etc., if there was another take without the errors, we'd try inserting that part from the other take.”

Adds Hicks, “Sometimes we did the tiniest little things. If something wasn't quite right — if there was a bend in a note or something — we did actually replace it with a slightly better one. Again, our main theme was to make it as strong as possible.”

The live rooftop recordings offered their own special challenges, given that the band was playing on a blustery winter day. Because the group was being filmed, the film crew had chosen an unobtrusive vocal microphone during the sessions, the Neumann KM84i, which features a small capsule on the end of an extension tube, with the mic's preamp located at the bottom near the floor. (The mic was commonly used for TV talk shows and awards programs.) The same mics were brought upstairs to the roof, where second engineer Alan Parsons simply tied clippings of pantyhose over the capsules to act as windscreens. “The wind noise was actually quite manageable,” says Hicks. “It was really only when they weren't singing that you could hear it.” For the inevitable hard consonants and mic pops, “We mainly handled that with a combination of filtering and EQ,” notes Hicks. A small amount of de-noising was done using an analog Behringer dynamic filter.

The following is a breakdown of what was done to each Let It Be…Naked track (in running order, along with the mix engineer's name in parentheses):

“Get Back” (Hicks): While Johns and Martin used a master recorded on January 28, 1969, for the aborted LP and released single, Spector had used a recording from the day before, and the same master is used on this album. Notably absent is the song's coda, which appeared on the single. “It turns out that the coda had been recorded as an edit piece four or five reels later,” explains Hicks. “Since it wasn't on the original session recording for the song, it wouldn't have represented what actually took place in the studio during that take, so it was decided to leave it off.”

“Dig a Pony” (Massey): Those who've heard bootlegs of Johns' mixes know the song originally featured an “All I Want Is You” intro and outro, which Spector removed for his LP. “The tuning is particularly bad in the beginning,” says Massey, prompting the decision to eliminate them in the new version, as well.

“For You Blue” (Hicks): Using the same master as Spector used, Hicks mainly focused on keeping the sounds bright and clear. What was interesting, he says, was learning about the unique sound McCartney got out of his piano. “It's a fuzzy, metallic sound, which he did by putting a piece of paper in the piano strings, causing them to vibrate against the paper when struck. You can hear on the session tape Paul's fiddling around, trying to get the right sound.” And because McCartney is playing piano, he does not play bass on the song. “The bass comes from the piano,” says Hicks, with McCartney playing a bass line on the keys. George Harrison's vocal, it turns out, was one of the few overdubs used. “We took out his live vocal, which was basically a guide vocal. It wasn't a complete take, really, and I don't think it was ever intended to be used.”

“The Long and Winding Road” (Hicks): Perhaps the greatest achievement on the album is the improvement to this track, easily accomplished by removing Spector's overblown orchestra. Actually, though, the master on Let It Be…Naked is not even the one used by Spector; it's the only take on the album that was changed in its entirety. The group returned to the Apple basement the day after their rooftop show to record three more songs, this one among them. Says Rouse, “Spector had used one take recorded five days earlier.” “This version, recorded on January 31, we felt was a stronger basic performance,” says Hicks. “There's also a slight lyric change,” adds Rouse, who suggests that, this being the later recording, it represents McCartney's final lyric choice.

As a listening experience, it's a first for Beatles fans to hear them play the song instead of an orchestra. The recording features McCartney on piano, Harrison playing lead guitar through a Leslie speaker, Lennon on a newly acquired Fender Bass VI and Ringo Starr keeping light time with his hi-hat.

“Two of Us” (Massey): The same master used by Spector, also from January 31, 1969, features Lennon and McCartney on acoustic guitars, Harrison on electric and Starr providing a simple bass drum/snare/tom beat. By the way, Starr's drums were typically recorded onto a single track, precluding mixing them into stereo. Small amounts of de-essing and rumble filtering were also performed.

“I've Got a Feeling” (Massey/Hicks): A rooftop recording, this song was edited by Massey before being mixed by his colleague. Massey used the best of each of two rooftop takes of the song, creating a version, Hicks says, with the most energy. And while Johns had opted for a studio recording of the song for his version of the album, there was no beating the live performances. Notes Hicks, “I don't know if it was just the fact that they were playing live and knew it or just because they were so cold, but there was just so much more energy in the live recordings.” Sonically, he notes, the live recordings — minus the wind and pops — are not much different from their studio counterparts, making a surprisingly good match when listening to the album.

“One After 909” (Hicks): Another rooftop performance, though, interestingly, the team did consider using a studio version. “We did research to see if there was another version,” says Hicks. “But it was just much slower, and it had a completely different feel. There was no contest, really. It's one of the more up-tempo numbers, so we went with the live one.” Hicks is proudest of his drum sound, bringing Starr out to the fore. “We found so many details we wanted to bring out, which we tried our best to do. Everything is a lot more focused.”

“Don't Let Me Down” (Hicks/Massey): Though not included on Spector's album, this song was a product of those sessions. A studio version from January 28, 1969, was released as the B-side to the “Get Back” single. This version, however, is an edit of the two rooftop versions. The Beatles recorded a second take because Lennon forgot the lyrics during the first take.

“I Me Mine” (Massey): This song was not originally recorded at Apple in January 1969, though Harrison is seen in the film playing it briefly at Twickenham. In January 1970, Harrison, McCartney and Starr recorded a studio version of the song, with Harrison playing acoustic guitar and singing a guide vocal, McCartney on bass and Starr on drums for the master take. Electric piano, electric guitar, lead vocal, backing vocals, organ and a second acoustic guitar were added as overdubs. The recording was a brief 1:34 in length, so before adding his orchestra, Spector lengthened it by repeating one of the verses, resulting in a 2:25 final master. The Naked team decided to leave in the overdubs — which made the recording complete as The Beatles had envisioned it — and Spector's edit. “We were originally going to do it unedited,” says Massey, “but if you listen to it at that length, it's just far too short.” Jokes Rouse, “That was our one concession to Mr. Spector.” Massey also built up the mix as the song progressed by adding elements of the mix as the song enters the second verse.

“Across the Universe” (Massey): Again, while no studio recordings of this song were made at Apple, Lennon is seen playing the song at Twickenham in the film. “Across the Universe” was actually recorded a year earlier, in February 1968, at the same Abbey Road sessions that produced “Lady Madonna” and “Hey Bulldog.” The basic track featured Lennon on acoustic guitar, his vocal and a tom-tom (all recorded onto one track), with Harrison playing a tamboura. At the time, George Martin had added background vocals and animal sound effects. Spector's version removed the latter two parts, as well as the tamboura, replacing them with an orchestra and a choir.

The new mix features Lennon's guitar and vocal, Starr's drums and the tamboura. “Again, because the concept was whatever the guys could play live onstage, we took everything else away,” says Rouse. The ending has been given a spiritual touch, with a building echo (via real Abbey Road tape delay) added.

“Let It Be” (Massey): another recording from January 31, 1969, the day after rooftop, with McCartney on piano, Lennon on Fender Bass VI, Harrison on lead guitar (through a Leslie), Starr on drums and Preston on organ. Three months later in April, Martin added a new electric guitar lead from Harrison, and in January 1970, added backing vocals from McCartney and Harrison, brass and cellos and yet another pass at a Harrison lead. Martin produced the single release of the song, issued in March 1970 (pre-Spector), featuring the April 1969 guitar solo. Upon Spector's arrival, the song was lengthened by repeating a chorus and issued featuring the January 1970 guitar lead.

The new version features the same master and uses a few edits from other takes, most notably the Harrison guitar solo that came from the take of the song that appears in the film. “We'd always thought that the guitar lead in the version in the film was just really soaring,” says Massey. “We edited it in, just as a trial take, and we all thought it sounded great.”

The album comes with a 22-minute companion “fly-on-the-wall” dialog/music disc put together by the BBC's Kevin Howlett and engineer Brian Thompson. Howlett listened to more than 80 hours of tapes, recorded in mono by the film crew during both the Twickenham and Apple sessions, discovering a number of previously unknown Lennon/McCartney tunes (which are included on the disc), as well as some other surprises. “I had expected to hear the kind of disagreements and arguing we've all heard about,” Howlett tells Mix. “Instead, I heard the bandmembers actually having a good time. By the end, they were, in fact, quite excited about what they were doing.”

Remixing an album by the greatest rock band of all time can be, well, daunting. “It's hard to make it as up-to-date as stuff nowadays, because it wasn't recorded these days,” says Massey. “From that point of view, it was a challenge to make it sound as punchy and as present as possible. But it's a good representation of what they were like then.”

Adds Hicks, “We all collectively felt that we wanted it to stand along all the other Beatles albums, and hopefully, we've achieved that.”

Let It Be

Recorded in January 1969 at Twickenham Film Studios just outside London, Let It Be was a miserable experience for all concerned. The Beatles were constantly filmed while making the album in the process of falling apart. They were so dispirited that, having recorded the tracks, none of them could be bothered to do the necessary post-production work, which was delegated first to producer George Martin, then to Glyn Johns, and finally to Phil Spector. Their unlucky 13th, and last, album, Let It Be was released on May 8, 1970, in the U.K., topping the chart two weeks later. In America, with 3.7 million advance orders, it achieved the highest initial sale of any album in history, and subsequently picked up an Oscar as best Soundtrack of the Year.

George Martin: We'd do take after take after take--and then John would be asking whether Take 67 was better than Take 39. I'd say, "John, I honestly don't know." "You're no f***ing good then, are you?" he'd say. That was the general atmosphere.

John Lennon: It was a dreadful, dreadful feeling in Twickenham Studios being filmed all the time. You couldn't make music at 10 in the morning, or whatever it was, with people filming you and colored lights.

Engineer Glyn Johns edited the original session tapes into a a finished album called Get Back. The Beatles could not agree on the final product and the entire project was shelved for over a year until Allen Klein, the Beatles' new manager, dusted it off.

Klein wasn't happy with the quality of the tapes Johns had edited and hired Phil Spector to produce a soundtrack album, giving him the formidable task of sifting through hundreds of hours of studio and live tapes to produce something marketable. Spector, who had never worked with the Beatles before, added orchestrations and female choruses. The resulting record was a disappointment to many Beatle fans and the Beatles themselves. Still, Let It Be was a No. 1 record.

John Lennon: By the time we got to 'Let It Be', we couldn't play the game anymore; we couldn't do it anymore. It came to the point where it was no longer creating magic, and the camera, being in the room with us, sort of made us aware of that, that it was a phony situation ... "It was hell making the film Let It Be. When it came out, a lot of people complained about Yoko looking miserable in it. But even the biggest Beatle fan couldn't have sat through those six weeks of misery. It was the most miserable session on earth.

Paul McCartney: In fact, what happened, when we got in there, we showed how a break-up of a group works. We didn't realize that we were sort of breaking up as it was happening.

George Harrison: As everybody knows, we never had much privacy and, you know, this thing that was happening was they were filming us rehearsing. There was a bit of a row going on between Paul and I. You can see it, where he's saying, 'Well don't play this', or something and I'm saying, 'Well, you know I'll play what you want or I won't play if you don't want it, you know, just make up your mind.' That kind of stuff was going on. And they were filming us, recording us having a row, you know, it was like, terrible really. I thought, 'I'm quite capable of being relatively happy on my own and I'm not able to be happy in this situation, you know, I'm getting out of here.'

Ringo Starr: I think everyone was getting a little tired of us by then because we were taking a long time and there were many discussions going on by then — many heated discussions."

By the end of 1970, the Beatles had sold over 500 million records.

Side 1
1. Two of Us
2. Dig a Pony
3. Across the Universe
4. I Me Mine
5. Dig It
6. Let It Be
7. [Maggie Mae]
Side 2
1. I've Got a Feeling
2. One After 909
3. The Long and Winding Road
4. For You Blue
5. Get Back

Let It Be . . . Naked

How much better, you could be forgiven for wondering, could Let It Be be? The answer, perhaps surprisingly, is "a bit". Let It Be, while obviously better than almost everything ever recorded by anyone else, was compromised by the fact that the Beatles were disintegrating as a unit during the recording sessions, the rancour most famously illustrated by John Lennon calling in Phil Spector behind Paul McCartney's back to rework "The Long and Winding Road". Let It Be... Naked, then, is the album as the Beatles would have heard it while they were making it.

Side 1
1. Get Back
2. Dig A Pony
3. For You Blue
4. The Long And Winding Road
5. Two Of Us
6. I've Got A Feeling Side 2
7. One After 909
8. Don't Let Me Down
9. I Me Mine
10. Across The Universe
11. Let It Be

March 25, 2020

Where to find high quality Beatles Wallpapers

Beatles fandom does not only extend to the recordings, movies, and music videos.
Below is a great website with 143 high definition Beatles wallpapers to decorate your computer desktop. Enjoy.


February 09, 2020

The Beatles Bootleg Recordings 1963

The Beatles Bootleg Recordings 1963 is a compilation album of 59 previously unreleased recordings by English rock band the Beatles, released on 17 December 2013, exclusively through the iTunes Store.[1] While it was initially only available for a few hours,[2] it is currently available again for purchase.[3] The release was timed to extend the copyright of the 1963 recordings under EU law by 20 years – the EU protects recordings for 70 years only if they are formally released.[1][4] Officially unreleased recordings from the band's earlier recording sessions previously entered public domain in 2012.[citation needed]

The album includes 15 studio outtakes and 42 live BBC Radio tracks, adding to those released previously on the albums Live at the BBC (1994) and On Air – Live at the BBC Volume 2 (2013).[5] The album also includes John Lennon's demo recordings of "Bad to Me" and "I'm in Love", later released as singles by Billy J. Kramer and the Dakotas and the Fourmost, respectively.[1]

Track listing
Tracks 1–14 are stereo; the rest are mono.
All tracks written by Lennon–McCartney, except where noted.


1-1 There's A Place (Studio Outtake / Takes 5 & 6) 2:19
1-2 There's A Place (Studio Outtake / Take 8) 1:58
1-3 There's A Place (Studio Outtake / Take 9) 2:04
1-4 Do You Want To Know A Secret (Studio Outtake / Take 7) 2:17
1-5 A Taste Of Honey (Studio Outtake / Take 6) 2:12
1-6 I Saw Her Standing There (Studio Outtake / Take 2) 3:07
1-7 Misery (Studio Outtake / Take 1) 1:54
1-8 Misery (Studio Outtake / Take 7) 1:56
1-9 From Me To You (Studio Outtake / Takes 1 & 2) 3:24
1-10 From Me To You (Studio Outtake / Take 5) 2:17
1-11 Thank You Girl (Studio Outtake / Take 1) 2:09
1-12 Thank You Girl (Studio Outtake / Take 5) 2:04
1-13 One After 909 (Studio Outtake / Takes 1 & 2) 4:29
1-14 Hold Me Tight (Studio Outtake / Take 21) 2:42
1-15 Money (That's What I Want) (Studio Outtake) 2:48
1-16 Some Other Guy (Live At BBC For "Saturday Club" / 26th January, 1963) 2:02
1-17 Love Me Do (Live At The BBC For "Saturday Club" 26th January, 1963) 2:31
1-18 Too Much Monkey Business (Live At BBC For "Saturday Club" / 26th January, 1963) 1:50
1-19 I Saw Her Standing There (Live At BBC For "Saturday Club" / 16th March, 1963) 2:38
1-20 Do You Want To Know A Secret (Live At BBC For "Saturday Club" / 26th January, 1963) 1:50
1-21 From Me To You (Live At BBC For "Saturday Club" / 26th January, 1963) 1:54
1-22 I Got To Find My Baby (Live At BBC For "Saturday Club" / 26th January, 1963) 1:59
1-23 Roll Over Beethoven (Live At BBC For "Saturday Club" / 29th June, 1963) 2:29
1-24 A Taste Of Honey (Live At BBC For "Easy Beat" / 23rd June, 1963) 2:01
1-25 Love Me Do (Live At BBC For "Easy Beat" / 20th October, 1963) 2:29
1-26 Please Please Me (Live At BBC For "Easy Beat" / 20th October, 1963) 2:08
1-27 She Loves You (Live At BBC For "Easy Beat" / 20th October, 1963) 2:29
1-28 I Want To Hold Your Hand (Live At BBC For "Saturday Club" / 21st December, 1963) 2:19
1-29 Till There Was You (Live At BBC For "Saturday Club" / 21st December, 1963) 2:16
2-1 Roll Over Beethoven (Live At BBC For "Saturday Club" / 21st December, 1963) 2:16
2-2 You Really Got A Hold On Me (Live At BBC For "Pop Go The Beatles" / 4th June, 1963) 2:54
2-3 The Hippy Hippy Shake (Live At BBC For "Pop Go The Beatles" / 4th June, 1963) 1:43
2-4 Till There Was You (Live At BBC For "Pop Go The Beatles" /11th June, 1963) 2:14
2-5 A Shot Of Rhythm And Blues (Live At BBC For "Pop Go The Beatles" / 18th June, 1963) 2:06
2-6 A Taste Of Honey (Live At The BBC for "Pop Go The Beatles" 18th June, 1963) 1:56
2-7 Money (That's What I Want) (Live At BBC For "Pop Go The Beatles" / 18th June, 1963) 2:41
2-8 Anna (Live At BBC For "Pop Go The Beatles" / 25th June, 1963) 3:02
2-9 Love Me Do (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:29
2-10 She Loves You (Live At BBC For "Pop Go The Beatles" / 24th September, 1963) 2:16
2-11 I'll Get You (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:05
2-12 A Taste Of Honey (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:00
2-13 Boys (Live At BBC For "Pop Go The Beatles" / 17th September, 1963) 2:12
2-14 Chains (Live At BBC For "Pop Go The Beatles" / 17th September, 1963) 2:22
2-15 You Really Got A Hold On Me (Live At The BBC For "Pop Go The Beatles" 17th September, 1963) 2:57
2-16 I Saw Her Standing There (Live At The BBC For "Pop Go The Beatles" 24th September, 1963) 2:41
2-17 She Loves You (Live At The BBC For "Pop Go The Beatles" 10th September, 1963) 2:15
2-18 Twist And Shout (Live At the BBC For "Pop Go The Beatles" 24th September, 1963) 2:36
2-19 Do You Want To Know A Secret (Live At The BBC For "Here We Go" 12th March, 1963) 1:55
2-20 Please Please Me (Live At The BBC For "Here We Go" 12th March, 1963) 1:57
2-21 Long Tall Sally (Live At The BBC For "Side By Side" 13th May, 1963) 1:49
2-22 Chains (Live At The BBC For "Side By Side" 13th May, 1963) 2:23
2-23 Boys (Live At The BBC For "Side By Side" 13th May, 1963) 1:53
2-24 A Taste Of Honey (Live At The BBC For "Side By Side" 13th May, 1963) 2:04
2-25 Roll Over Beethoven (Live At The BBC For "From Us To You" 26th December, 1963) 2:17
2-26 All My Loving (Live At The BBC For "From Us To You" 26th December, 1963) 2:06
2-27 She Loves You (Live At The BBC For "From Us To You" 26th December, 1963) 2:21
2-28 Till There Was You (Live At The BBC For "From Us To You" 26th December, 1963) 2:12
2-29 Bad To Me (Demo) 1:29
2-30 I'm In Love (Demo) 1:32

There also appears to be an unofficial bootleg CD version of the recordings.

Source: https://en.wikipedia.org/wiki/The_Beatles_Bootleg_Recordings_1963

After something of a false start, Apple Corps/Universal have today issued 59 previously unreleased recordings by The Beatles consisting of studio outtakes and live material from 1963.
We should clarify straight off the bat, that this is not a deluxe box set; indeed, it’s not being released physically on any format. Bootleg Recordings 1963 (as this collection is dubbed) is a digital-only affair and can only be bought via iTunes. But hey, it is The Beatles, so coverage here is justified!
The Beatles’ Anthology albums (themselves nearly 20 years old) were the one and only time in the last 50 years that Fab Four studio outtakes have been officially released, so to see something akin to The Holy Grail almost casually uploaded onto (the other) Apple’s iTunes servers takes a while to get your head around.

But that is what has happened. Tracks made available include work-in-progress from Please Please Me and With The Beatles, and early takes of the group’s first (official) UK number one From Me To You and its B-side Thank You Girl. The 1963 version of The One After 909 (which famously went unreleased until Paul and John dusted it down for Let It Be six years later) is another notable inclusion (takes 1&2) in this Beatles Bootleg bundle.
Into total, 15 studio tracks are issued followed by an enormous amount of what you might call Live at the BBC ‘the leftovers’ – tracks recorded at the BBC radio studios that haven’t appeared on the official releases (1994 and 2013) probably to avoid duplication and in some cases because the sound quality is not up to par. So we get three Love Me Dos, four A Taste Of Honeys and a couple of Do You Want To Know A Secrets amongst the 42 Beeb tracks. A special treat at the end of the Bootleg Recordings are demo versions of Bad To Me and I’m In Love, two Lennon-McCartney songs given to other groups (Billy J. Kramer with the Dakotas and The Fourmost, respectively).

As a fan of physical media the first reaction is ‘why couldn’t they have released this is a proper box set’, but in truth, the digital domain is somehow a more forgiving environment for this Merseybeat memory dump; running orders don’t need to be fretted over (or are rendered irrelevant by the medium), and no one is going to complain about multiple versions of the same track because you just can just download the ones you want. In short, Apple don’t need to think  about it too much, because the truth of the matter seems to be that they would probably rather not do this at all. The current thinking is that this Bootleg Recordings 1963 release is all about retaining copyright of the material once it’s over 50 years old. Previously released material is now protected for 70 years (in Europe), but unreleased material is not afforded the same protection and becomes public domain. The solution? Release it.

And that is what Apple/Universal have done today. The Anthology projects of the 1990s were studies in planning, hype, marketing, coordination and global brand enhancement. Three multi-formatted double albums spread over a year with the small matter of a six-part companion TV documentary (and later a hardback book). By comparison Bootleg Recordings 1963 is the polar opposite. No hype, no build-up, no advertising, no ‘tie-ins’ – just a bucketful of Beatles’ rarities falling onto the unsuspecting Mop Top fan as they go about their daily business.

If there are no changes in the copyright law, then surely we can look forward to similar Beatles Bootleg recordings in our Christmas stockings over the next seven years. Bootleg Recordings 1963 is released globally via iTunes today and is available to download in many territories already.

Source: http://www.superdeluxeedition.com/news/beatles-bootleg-recordings-1963/