June 10, 2022

The Beatles "1"-- Giles Martin Remixes the Singles



















Michael Fremer  |  Jan 26, 2016
Music re-mixes may not be as complicated or as critical as brain surgery but when it comes to The Beatles, you could make the case.

If you're of a certain age, these songs are hard-wired into your brain, so that any changes jar. The reviews were not positive when, for the first CD issue, George Martin remixed Help and Rubber Soul to correct some glaring panning mistakes and to "modernize" the stereo imagery.

Martin also added reverb not found on the originals. Few fans were happy with them and they were even less happy when those same CD resolution mixes were used again for the box set that was otherwise sourced from 192/24 bit flat transfers and then "dumbed down".

Giles Martin was tasked with producing the music for The Beatles Cirque du Soleil show that's still running in Las Vegas at The Mirage Hotel and if you've not seen it and you are a Beatles fan, you must—and more than once! For that project he was mixing, mashing and using his imagination to paint Beatles onto a blank palette. He succeeded.




Here, the assignment was to re-mix the 1 album for release on Blu-ray and DVD to accompany the newly compiled and restored videos in which the group had participated. The assignment included a surround sound mix.

Fortunately, Mr. Martin was not interested in panning instruments around the room. Instead he set up big speakers in an Abbey Road studio and using the original microphones, recorded the songs being played back through the speakers, but with the microphones aimed at the studio walls not at the speakers.

Let's be honest: the vinyl version is of secondary concern in all of this. The point was a re-mix to go with the videos. Watching and listening on a home theater was/is an eye and ear opening experience. The mixes don't try to re-imagine the songs "Love"-like.

Instead, Mr. Martin re-mixed the hard left/right of the early 'stereo' songs to near-mono, which makes complete sense. We also know that up through Sgt. Pepper's Lonely Hearts Club Band the group and the producer paid full attention to the mono mixes and left the stereo mixes to others. Martin quipped to a BBC reporter last year: "And you have what I call the socks and sandals brigade saying: 'The only way to listen to Sgt Pepper's is in mono.' To be honest, they're probably right, but no-one does that any more."

Well of course we do, (most of us not wearing socks and sandals) but we also understand his point. So he produced stereo remixes that better spatially integrate the movable elements and he re-equalized the results, giving the bottom end far more weight and solidity than was found on the originals. It also sounds as if he's tamped down some high end sparkle to produce a richer midrange.

One aspect of the mono mixes that those of us who prefer them like, is the punchy solidity that gets diluted and softened in stereo.

What Martin has done here is sort of split the difference between the mono and original stereo, maintaining separation but also incorporating the mono's "crunch" and solidity. This works better on some tunes than on others. For instance, "Something" from Abbey Road sounds too dark and thick for my tastes, but maybe not yours. However, McCartney's bass line definitely flaps your pants legs as never before.



Martin has achieved the overall goal of not messing too much with your head in the macro-sense, but he definitely makes micro-moves that produce subtle "brain-rewiring" without disturbing or jarring your long held Beatles sensibilities.

"Yesterday" has a pleasing clarity and the added bass gives the strings a rich, woody sheen, especially the celli but as with every song here, some transparency is lost, the bass EQ is somewhat heavily applied especially if you have a full-range system (though whatever your system you'll love the kick drum on "Yellow Submarine") and Mr. Martin has definitely applied dynamic compression. Though it's generally modest, it's too much for me.

Compare "Ticket to Ride" here with an original U.K. original pressing. Even though on the original it's the last of seven songs on the side, the original kills the new version in terms of spaciousness, stage width and depth, dynamics and of course transparency. The digits still destroy the 'breath of life'.

Two final points: I'd rather hear this version of 1 than the thin, bright, unpleasant original two LP set, and while for the most part I still prefer the original mixes, misguided panning and all, these mixes alway surprise in the best sense of the word as the younger Mr. Martin consistently manages to pull subtle musical surprises out of his mixing bag of tricks, leaving you to wonder if he did it using the fader or the EQ knob or both.

In the end, you come away admiring Martin's steady but understated hand, but more than that, you'll find new appreciation for every song, even if, like me, you are somewhat disappointed by the dynamic compression and perhaps overdone bass.

Miles Showell cut 1/2 speed and on side 4 pays tribute to the master of the 1/2 speed cut, Mr. Stan Ricker. "RIP Stan Ricker and Thank You" he scribed into the inner groove area. The funny thing is, as much as I loved Stan and many of his cuts, he was a bass player and sometimes overdid the bass. Though here it's more likely the EQ was Mr. Martin's choice.

The packaging is outstanding and includes nicely reproduced 45rpm single sleeves from around the world, many of which you may never have before seen. The credits are also unusually complete with recording release dates as well as engineering credits for each song. 

Source: The Beatles "1"-- Giles Martin Remixes the Singles | Analog Planet



Below are scans from the Beatles 1+ Collection: 2 Blu Ray Discs + CD + Book






Looking back at: Beatles 1 - 27 Greatest Hits Remastered & Scans

The Beatles’ 1 is the world’s best selling album of the last decade, compiling all of the fab-four’s number one singles on to one album. And, as all of The Beatles’ albums have finally been released digitally on iTunes, 1 made its debut last week and quickly went to number one on many global iTunes charts, including the U.S., Mexico, Canada, and Japan. In addition, the remastered 1 album will also be released on CD with updated packaging on September 13th, 2011.



The Beatles' "1" album from 2000 has been released in remastered form on iTunes. The album is also available as a CD with the remastered audio recordings in a new digipak case. At the official Beatles store you can order your CD in a special edition bundle, with an exclusive custom design T-shirt.
They have also produced a limited edition, numbered lithograph print featuring the covers of the Beatles singles. There are only 250 of these high quality prints and are exclusive to order from each of the US, European and Japanese official Beatles stores. Oh, how I long back to the old days, when the vinyl edition of "1" came with a free poster for everyone, "featuring the covers of the Beatles singles".

1 is a compilation album by the English rock band the Beatles, originally released on 13 November 2000. The album features virtually every number-one single the band achieved in the United Kingdom and United States from 1962 to 1970. Issued on the 30th anniversary of the band's break-up, it was their first compilation available on only one CD. 1 was a commercial success and topped charts worldwide. It has sold over 31 million copies.[1]

In addition, 1 is the fourth best-selling album in the US since Nielsen SoundScan began tracking US album sales in January 1991[2] and the best-selling album of the 2000s decade in the US,[3] as well as the best-selling album of the decade worldwide. 1 was remastered and reissued in September 2011,[4] and was remixed and reissued again in several different deluxe editions in November 2015, the most comprehensive of which is a three-disc set entitled 1+, which includes video discs of the band's promotional films.

As of June 2015, 1 was the sixth best-selling album of the 21st century in the UK, having sold over 3.1 million copies.[5]

Background

1 was compiled by producer George Martin and former band members Paul McCartney, George Harrison and Ringo Starr.[6] The album contains the 27 Beatles songs that went to number one in the United Kingdom on the Record Retailer Top 50 chart or in the United States on the Billboard Hot 100 chart. Despite Harrison's "For You Blue" charting at number 1 on Billboard, along with the A-side "The Long and Winding Road",[7] Capitol Records treated "For You Blue" as strictly a B-side and did not promote it as an A-side. "Day Tripper" was included on 1 since it charted at number 1 in the UK as a double A-side with "We Can Work It Out", while in the US, only "We Can Work It Out" was number 1. Two singles written by John Lennon and released in both the UK and US were omitted as they did not top either the Record Retailer chart or the Billboard Hot 100: "Please Please Me" and "Strawberry Fields Forever". The former was the Beatles' first UK number one single in all British charts except Record Retailer, reaching the top spot in the music magazines New Musical Express, Melody Maker and Disc. "Strawberry Fields Forever" was part of a double A-side single with "Penny Lane", which reached the top spot in Melody Maker and peaked at number 2 in the other UK charts, behind Engelbert Humperdinck's "Release Me".

The album is a combination of both the US and UK versions of the 1982 compilation 20 Greatest Hits, with the addition of "Something" (which was left off 20 Greatest Hits because of time constraints).[citation needed] On 1, "Hey Jude" was included in its original full-length version (slightly over seven minutes), whereas the American version of 20 Greatest Hits contained a shortened version.
Remastering

Before 1, all 27 songs were mainly available on two remastered CD releases: firstly on the respective Beatles studio albums released in 1987 (as well as Past Masters, Volume One and Past Masters, Volume Two, released in 1988). The second remastering was made available on the CD versions for 1962–1966 and 1967–1970, released in 1993.

The songs on 1 were remastered specifically for the release in 2000. According to the liner notes of the album, the original analogue masters were "digitally remastered at 24 bits resolution, processed using Sonic Solutions NoNoise technology and mastered to 16-bit using Prism SNS Noise Shaping". The remastering was overseen by Peter Mew of Abbey Road Studios and took place there.[8] In 2011, 1 was remastered and reissued on CD. In 2015 it was remastered again and remixed by Giles Martin; when Martin began to assist with fixing up the audio tracks for the 1+ video clips, he realised that his goal of making them "more immersive" should also apply to 1.[9] For the remixing project, Martin commented: "The remasters went back to these final mix tapes and remastered them. They cleaned them up and then they EQ-ed them and released them. What we're doing is remixing. We're going not to the final mix, we're creating our own mixes."[9] About his remixing approach, Martin said: "My approach was to be respectful of everything, I had sessions and sessions where I flipped between previously remastered stereos, the mono remasters, and the remixes we've done. I flip between everything and make sure I prefer what we've done."[9]

Package

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The package of 1 was intended to be simplistic and ambitious at the same time. Its cover was designed by Rick Ward,[8] and consists of a pop art-style yellow number one on a red background. The emphasis on the 1 digit was used on many of the compilations of number-one hits by different artists that followed this album; for example, ELV1S by Elvis Presley and Number Ones by the Bee Gees. The album's back cover features the famous photos of the Beatles taken by Richard Avedon and copyrighted on 17 August 1967.[8] The design exclusively uses variations of the Helvetica typeface.

1 was released worldwide in CD and cassette.[10] The vinyl format was released only in the United Kingdom. The CD includes a 32-page booklet with a coloured page with international picture covers (a total of 163 covers are displayed on the whole booklet) and details (recording date, location, release date, chart stats) for each of the singles. It also includes on its first two pages a collage with 27 1s in different colours (all of them following the same art as the cover) with the sentence "27 No. 1 singles = 1" (which was used as a catch phrase for the promo ads for the album), and a foreword by George Martin.

The LP and cassette keep the main art of the CD version, but in a different form.[10] The double vinyl record version was not released in the US, but the imported British edition was available. The vinyl version features a large full-colour fold-out poster showing 126 picture sleeves (37 fewer than on the CD), and reproductions of the four Richard Avedon photos. The Avedon portraits also appear on the inside of the gate-fold cover. The records have custom labels featuring the same graphics as the front cover and are packaged in custom inner sleeves. The deluxe packaging of the vinyl album, with its four portraits and poster, is reminiscent to that of their titular 1968 album. The cassette included a 20-page insert, including the collage, the George Martin commentary and paged Avedon's portraits on its inlay and the whole description for the tracks as a total of 36 covers on its inlay reverse.
Release variations

2000 CD. Apple 7243 5 29970 2 2 (Released in UK only)
2000 CD. Apple 7243 5 29325 2 8 (Worldwide release)
2011 CD. (Remastered). Apple 50999 083070 2 6
2015 CD. (Remixed). Apple 06025 475678 1 9 (as 1+ with two DVD or Blu-ray discs)

1+
1+
The Beatles - 1+.png
DVD/Blu-ray cover
Greatest hits album by the Beatles
Released 6 November 2015
Length 76:56
Label Apple/Parlophone, Capitol
Producer Giles Martin
The Beatles chronology
The Japan Box
(2014) 1+
(2015) Live at the Hollywood Bowl
(2016)

On 6 November 2015, Apple Records released a deluxe version of the original album, titled 1+. Most of the tracks on 1 have been remixed from the original multi-track masters by Giles Martin, except the first three tracks, which are the original mono mixes. In addition to the new mixes, there are surround sound 5.1 mixes presented as Dolby TrueHD and DTS-HD Master Audio in the Blu-ray version and Dolby Digital and DTS in the DVD version.

1+ also includes 50 promotional films/performances, plus commentary and introductions from Paul McCartney and Ringo Starr. All the videos have been digitally restored and enhanced. They are available on DVD and Blu-ray.[11]

Variations of 1/1+ include standard CD, CD/DVD, CD/Blu-ray, CD/2DVD, CD/2Blu-ray. The double-disc video editions also feature a 124-page hard-bound book with illustrations. The DVD/Blu-ray video editions are also available as a stand-alone package.[12]
Reception
Professional ratingsReview scores
Source Rating
AllMusic 5/5 stars[13]
Melody Maker 5/5 stars[14]
NME 9/10[15]
Q 4/5 stars[16]

1 received universal acclaim. Stephen Thomas Erlewine of AllMusic gave the album five stars out of five. He stated that there is "no question that this is all great music", although to him "there's really no reason for anyone who owns all the records to get this too".[13]
Legacy

1 went on to inspire the release of a wave of compilation albums, in particular three other "number ones" albums: Elvis Presley's ELV1S (2002),[17] Michael Jackson's Number Ones (2003)[18] and the Bee Gees' Number Ones (2004). Other compilations inspired by 1 issued included Nirvana's Nirvana (2002),[19][20] the Rolling Stones' Forty Licks (2002),[21] Pink Floyd's Echoes: The Best of Pink Floyd (2001), The Who's The Ultimate Collection (2002)[22] and Dean Martin's Dino: The Essential Dean Martin (2004).[23]
Sales and chart performance

The reception of 1 surpassed all critical and commercial expectations.[citation needed] It reached number 1 in over 35 countries, achieving the record for the album debuting at the top of the most national charts ever.[citation needed] It became the highest-selling of 2000 and, some time later, of the entire decade.[citation needed] This achievement made the Beatles the first and only artist to have the best-selling albums of two different decades: they also released the best-selling album of the 1960s, Sgt. Pepper's Lonely Hearts Club Band.[citation needed] No tracks from Sgt. Pepper appear on this album. With this album, the Beatles also achieved having an album hit the number 1 position in the US in four non-consecutive decades (1960s, 1970s, 1990s and 2000s).

In the United Kingdom, 1 became the Beatles' 15th number 1 album with sales of 319,126 copies (achieving record sales for only one week in 2000). On 18 December 2000, Ananova.com reported that the album has "become 2000's biggest-selling album—in only five weeks." 1 was the first album to stay at the top spot for nine weeks in almost ten years (the last being the Eurythmics's Greatest Hits), the best-selling album of 2000, and the fourth best-selling album of the 2000s so far in the UK. In its eleventh week, 1 sold a total of two million copies in the UK. It spent a total of 46 weeks inside the Top 75. In July 2013 it was certified 10× platinum by the BPI, for over 3 million copies sold in the UK. It is the 21st best-selling album in the UK, according to an assessment by the Official Charts Company and the British Phonographic Industry that counted album sales in the UK from 28 July 1956 to the present day, and the second best-selling Beatles album in that country (only beaten by Sgt. Pepper's Lonely Hearts Club Band, which is the UK's third best-selling album).[24] As of July 2016, the album has sold over 3,230,000 copies in the UK.[25]

In the United States, the response was similar. 1 debuted at number one on the Billboard 200 during the week of 2 December 2000 with sales totaling over 595,500 copies.[26][27] In its second week, sales increased to 662,000 but it was knocked off the top spot by Backstreet Boys' Black & Blue which sold 1.59 million units, therefore, 1 fell off to number two on its week on chart.[28] The following week it stayed at number two selling 607,000 units, by doing so, the album became the sixth to debut at the top of the Billboard 200 and post a SoundScan increase in its second week and the first to do so after opening with a sum of more than half a million copies.[29] During the week of 23 December 2000, its fourth week on chart, 1 moved 671,000 copies and returned to the top of the Billboard 200.[30] The next week, on 30 December 2000 it stayed at the top of the chart selling 823,500 copies.[31] On 10 February 2001, after being the number one album for eight non-consecutive weeks, 1 fell off to number four on the Billboard 200 with 173,500 units sold, a 19.5% dip in sales, by the time this happened the album had sold almost six millions units.[32] The album spent a total of eight weeks at number 1 and sold 1,258,667 copies during the week before Christmas of 2000.[33][34] With this number, the Beatles achieved a new record: it was the seventh highest one-week sales in Soundscan history, the highest for an album not in its first week of sales, and the highest for an album comprising previously released music. The album spent 309 weeks inside the Billboard 200 and was the sixth best-selling album in the United States in 2000 with 5,100,000 copies sold according to Nielsen SoundScan.[33][35] On 30 August 2011 the band announced through their Facebook account that the album was available to pre-order from iTunes and that it was digitally remastered.[36] On 24 September 2011, after the album made its digital debut in the iTunes Store it re-entered on the Billboard 200 at number four selling 60,000 units, it also topped the iTunes album charts in the US, Canada, Japan, the Netherlands, Mexico, Switzerland, Spain, New Zealand and Greece according to a Capitol/EMI press release.[37][38][39] Its digital launch on the iTunes Store was accompanied with a price of $9.99 and a Twitter camping with the hashtag #MyBeatles1 asking their fans: What is your favorite "1" track? Resulting in many celebrities and stars posting their favorites, too.[40][38] In 2015, after it was remastered again and remixed by Giles Martin, 1 re-entered on the Billboard 200 at number six selling 40,000 units.[41] It was certified eleven times platinum by the RIAA on 8 March 2010 denoting shipments of eleven million units, and 1 is included on the list of the Top 100 Albums by the Recording Industry Association of America.[42][43] The album is the best-selling album of the 21st century in the US and the fourth best-selling album in the Soundscan era (1991–present).[44][45] As of October 2019, the album has had sold 13 million copies in the US.[46] In the US, the album secured the Beatles a fourth decade in which they placed an album at number 1 on the Billboard chart.

In Canada, 1 debuted at number 1 on the Canadian Albums Chart, selling 54,668 copies in its first week.[47] The album was certified Diamond (1,000,000 units) by the CRIA in February 2001, just four months after its release.[48] As of 2009, 1 has sold 1,103,000 units in Canada, making it the fifth best-selling album ever in Canada of the Nielsen SoundScan era.[49]

In Germany, 1 debuted at number 1 and managed to stay there nine non-consecutive weeks. Though this, it stayed only seventeen weeks in the top ten of the German Albums Chart, but fifty weeks in the total chart. By selling 1,650,000 copies and reaching 11× Gold, it's the third best-selling album of the decade 2000–2009 and the best-selling non-German language album.[50]

In 2009, Apple Corps, the Beatles' company, stated that worldwide sales of 1 had exceeded 31 million copies.[1] Worldwide in 2000 the album sold 13.8 million copies, with 2 million or more copies sold during 2 consecutive weeks, and was the fourth best-selling album behind Eminem's The Marshall Mathers LP, Britney Spears' Oops!... I Did It Again, and Santana's Supernatural.
Track listing

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All songs written by Lennon–McCartney, except "Something" by George Harrison, and those others as noted on the second DVD. All tracks produced by George Martin except "The Long and Winding Road" re-produced for disc by Phil Spector. CD tracks 1–3 are in mono; all others on CD are in stereo.

1 Official Tracklisting:
1. Love Me Do
2. From Me to You
3. She Loves You
4. I Want to Hold Your Hand
5. Can’t Buy Me Love
6. A Hard Day’s Night
7. I Feel Fine
8. Eight Days a Week
9. Ticket to Ride
10. Help!
11. Yesterday
12. Day Tripper
13. We Can Work It Out
14. Paperback Writer
15. Yellow Submarine
16. Eleanor Rigby
17. Penny Lane
18. All You Need Is Love
19. Hello, Goodbye
20. Lady Madonna
21. Hey Jude
22. Get Back
23. The Ballad of John and Yoko
24. Something
25. Come Together
26. Let It Be
27. The Long and Winding Road

CD/First DVD/Blu-ray

"Love Me Do" – 2:21
Released in the UK on 5 October 1962, and in the U.S. on 27 April 1964. Reached No. 1 in the U.S. for one week on 30 May 1964. This is the version released in the U.S. with Ringo Starr on tambourine and session musician Andy White on drums. First included on Introducing... The Beatles (1964) and Please Please Me (1963), depending on the territory.
The DVD/BD track is from The Little Theatre, Southport, Merseyside, England, 27 August 1963 recorded for the BBC documentary The Mersey Sound; it aired on 9 October.
"From Me to You" – 1:55
Released in the UK on 11 April 1963, and in the U.S. on 27 May. Reached No. 1 in the UK for seven weeks on 2 May 1963. First included on The Beatles/1962-1966 (1973) and A Collection of Beatles Oldies (1966), depending on the territory.
The DVD/BD track is from the Royal Variety Performance, Prince of Wales Theatre, London, England, 4 November 1963, aired on 10 November.
"She Loves You" – 2:21
Released in the UK on 23 August 1963, and in the U.S. on 16 September. Reached No. 1 in the UK for four weeks on 14 September 1963, then again for two weeks on 28 November. Reached No. 1 in the U.S. for two weeks on 21 March 1964. First included on The Beatles' Second Album (1964) and A Collection of Beatles Oldies, depending on the territory.
The DVD/BD track is from the Swedish television pop music show Drop In, recorded 30 October 1963, aired 3 November.
"I Want to Hold Your Hand" – 2:24
Released in the UK on 29 November 1963, and in the U.S. on 26 December. Reached No. 1 in the UK for five weeks on 12 December 1963. Reached No. 1 in the U.S. for seven weeks on 1 February 1964. First included on Meet the Beatles! (1964) and A Collection of Beatles Oldies (1966), depending on the territory.
The DVD/BD track is from Studio Four, Granada TV Centre, Manchester, England, 25 November 1963 filmed for Late Scene Extra, aired two days later.
"Can't Buy Me Love" – 2:11
Released in the U.S. on 16 March 1964, and in the UK on 20 March. Reached No. 1 in the UK for three weeks on 2 April 1964, and in the U.S. for five weeks on 4 April. First included on respective territorial versions of A Hard Day's Night (1964).
The DVD/BD track is from the Beatles' television special Around the Beatles, music recorded on 19 April 1964, performed lip-synched on 28 April (at Studio 5 A/B, Wembley Studios, London, England), and aired on Rediffusion 6 May.
"A Hard Day's Night" – 2:33
Released in the UK on 10 July 1964, and in the U.S. on 13 July. Reached No. 1 in the UK for three weeks on 23 July 1964, and in the U.S. for two weeks on 1 August. First included on respective territorial versions of A Hard Day's Night (1964).
The DVD/BD track is from the Palais des Sports, Paris, France, 20 June 1965, recorded/filmed for a 31 October broadcast of Les Beatles.
"I Feel Fine" – 2:18
Released in the U.S. on 23 November 1964, and in the UK on 27 November. Reached No. 1 in the UK for five weeks on 10 December 1964, and in the U.S. for three weeks on 26 December. First included on Beatles '65 (1964) and A Collection of Beatles Oldies, depending on the territory.
The DVD/BD track is a promo video filmed at the Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Eight Days a Week" – 2:43
Released in the U.S. on 15 February 1965, where it reached No. 1 for two weeks on 13 March. First included on Beatles VI (1965) and Beatles for Sale (1964), depending on the territory.
The DVD/BD track is a montage of footage of their famous concert at Shea Stadium, New York City, New York, 15 August 1965.
"Ticket to Ride" – 3:08
Released in the UK on 9 April 1965, and in the U.S. on 19 April. Reached No. 1 in the UK for three weeks on 22 April 1965, and in the U.S. for one week on 22 May. First included on respective territorial versions of Help! (1965).
The DVD/BD track is a promo video filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Help!" – 2:18
Released in the U.S. on 19 July 1965, and in the UK on 23 July. Reached No. 1 in the UK for three weeks on 5 August 1965, and in the U.S. for three weeks on 4 September. First included on respective territorial versions of Help!.
The DVD/BD track is a promo video filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Yesterday" – 2:05
Released in the U.S. on 13 September 1965, where it reached No. 1 for four weeks on 9 October. First included on Help! and Yesterday and Today (1966), depending on the territory.
The DVD/BD track is from The Ed Sullivan Show, recorded 14 August 1965, aired 12 September.
"Day Tripper" – 2:48
Released in the UK on 3 December 1965, and in the U.S. on 6 December. Reached No. 1 in the UK for five weeks on 16 December 1965. A tape drop-out that appears in previous stereo releases of this song has been corrected here. First included on the albums Yesterday and Today and A Collection of Beatles Oldies, depending on the territory.
The DVD/BD track is a promo video filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"We Can Work It Out" – 2:15
Released in the UK on 3 December 1965, and in the U.S. on 6 December. Reached No. 1 in the UK for five weeks on 16 December 1965, and in the U.S. for two weeks on 8 January 1966, and for another week on 29 January. First included on the 1966 albums Yesterday and Today and A Collection of Beatles Oldies, depending on the territory.
The DVD/BD track is a promo video filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Paperback Writer" – 2:16
Released in the U.S. on 30 May 1966, and in the UK on 10 June. Reached No. 1 in the UK for two weeks on 23 June 1966, and in the U.S. for one week on 25 June, and for another week on 9 July. First included on A Collection of Beatles Oldies and Hey Jude (1970), depending on the territory.
The DVD/BD is a promo video filmed in colour at Chiswick House, Chiswick, London, England, 20 May 1966; later aired in black and white on Top of the Pops.
"Yellow Submarine" – 2:37
Released in the UK on 5 August 1966, and in the U.S. on 8 August. Reached No. 1 in the UK for four weeks on 18 August 1966. First included on respective territorial versions of Revolver (1966).
The DVD/BD track is montage of footage from the animated film Yellow Submarine (1968).
"Eleanor Rigby" – 2:06
Released in the UK on 5 August 1966, and in the U.S. on 8 August. Reached No. 1 in the UK for four weeks on 18 August 1966, as part of a double-A-sided single with "Yellow Submarine". First included on respective territorial versions of Revolver.
The DVD/BD track is a sequence originally found as a part of Yellow Submarine.
"Penny Lane" – 3:00
Released in the U.S. on 13 February 1967, and in the UK on 17 February. Reached No. 1 in the U.S. for one week on 18 March 1967. First included on the U.S. release of Magical Mystery Tour (1967).
The DVD/BD track is a promo video filmed on 5 & 7 February 1967 in England (Stratford, London; Knole Park, Sevenoaks, Kent; Liverpool (non-Beatles footage)); later aired on Juke Box Jury, Top of the Pops (both from the BBC), and The Hollywood Palace (in the U.S.).
"All You Need Is Love" – 3:46
Released in the UK on 7 July 1967, and in the U.S. on 17 July. Reached No. 1 in the UK for three weeks on 19 July 1967, and in the U.S. for one week on 19 August. First included on the U.S. release of Magical Mystery Tour.
The DVD/BD track is a live broadcast from Studio One, Abbey Road Studios, London, England, 25 June 1967 for the Our World special. The pre-recorded backing track was done on 14 June as the orchestra, vocals, drums, bass, and guitar solo were recorded and filmed live in the studio. Famous guests who appeared included Mick Jagger and Keith Richards (of The Rolling Stones), Eric Clapton, Keith Moon of The Who, Graham Nash of The Hollies, Mike McGear (McCartney's brother), and Gary Walker of The Walker Brothers. The orchestra can be heard playing Bach's Brandenburg Concerto and the traditional song "Greensleeves" (which Martin was paid £15 for) during the extended fade-out in the 6-minute broadcast.
"Hello, Goodbye" – 3:26
Released in the UK on 24 November 1967, and in the U.S. on 27 November. Reached No. 1 in the UK for seven weeks on 6 December 1967, and in the U.S. for three weeks on 30 December. First included on Magical Mystery Tour.
The DVD/BD track is a promo video filmed at the Saville Theatre, London, England, 10 November 1967 featuring The Beatles in their Sgt. Pepper outfits (unlike the other two videos found on the disc). It later aired on the Sunday 26 November episode of The Ed Sullivan Show and The Hollywood Palace two days later. Due to the Musicians' Union's ban on miming during performances in the UK, the video was replaced by a montage of shots from the film A Hard Day's Night (1964) for 23 November broadcast of Top of the Pops and the film Magical Mystery Tour (1967) two weeks later.
"Lady Madonna" – 2:15
Released in the UK on 15 March 1968, and in the U.S. on 18 March. Reached No. 1 in the UK for two weeks on 27 March 1968. First included on Hey Jude.
The DVD/BD track is a promo video filmed in Studio Three, Abbey Road Studios, London, England, 11 February 1968 and at Chappell Studios, London, England three days later. It included shots of the band recording "Hey Bulldog" (with its accompanying video found on the second disc).
"Hey Jude" – 7:03
Released in the U.S. on 26 August 1968, and in the UK on 30 August. Reached No. 1 in the UK for two weeks on 11 September 1968, and in the U.S. for a record nine weeks on 28 September. First included on Hey Jude.
The DVD/BD track is a promotional recording made on 4 September 1968 at Twickenham Film Studios, Middlesex, England, with a live vocal from McCartney. It later aired on Frost on Sunday (by David Frost) on 6 October 1968, and a month later on The Smothers Brothers Comedy Hour.
"Get Back" – 3:12
Released in the UK on 11 April 1969, and in the U.S. on 5 May. Reached No. 1 in the UK for six weeks on 23 April 1969, and in the U.S. for five weeks on 24 May. While a different version was included on Let It Be (1970), this version was first included on The Beatles/1967–1970 (1973).
The DVD/BD track is a promo video featuring filmed footage at the famous Apple rooftop concert in Saville Row, Mayfair, London, England, 30 January 1969. Edits and mash-ups of the three times they played the song were done by Apple Films for later broadcasts such as Top of the Pops.
"The Ballad of John and Yoko" – 2:57
Released in the UK on 30 May 1969, and in the U.S. on 4 June. Reached No. 1 in the UK for three weeks on 11 June 1969. First included on Hey Jude.
The DVD/BD track is a promo video created by Apple Films with outtakes from the film Let It Be (1970) and footage shot at places like London, Paris, Amsterdam, and Vienna.
"Something" – 3:01
Released in the U.S. on 6 October 1969, and in the UK on 31 October. Reached No. 1 in the U.S. for one week on 29 November 1969. First included on Abbey Road (1969).
The DVD/BD track is an Apple-produced promo video filmed in October 1969 featuring the four Beatles and their wives at Tittenhurst Park, Ascot, Berkshire, England (the Lennons); "Kinfauns", Esher, Surrey, England (the Harrisons); "Brookfield", Elstead, Surrey (the Starkeys); and Mull of Kintyre, Scotland (the McCartneys).
"Come Together" – 4:16
Released in the U.S. on 6 October 1969, and in the UK on 31 October. As the B-side of a double-A-sided single with "Something", it reached No. 1 in the U.S. for one week on 29 November 1969. First included on Abbey Road.
The DVD/BD track is a multimedia clip created by Melon Dezign for the launch of The Beatles' official website, which was done to celebrate the original release of 1.
"Let It Be" – 3:48
Released in the UK on 6 March 1970, and in the U.S. on 11 March. Reached No. 1 in the U.S. for two weeks on 11 April 1970. While a different version was included on Let It Be (1970), this version was first included on The Beatles/1967–1970.
The DVD/BD track is from the film Let It Be being synced with the single version for promotional release. It was of the recording sessions for said song at Apple Studio, Saville Row, London, England, 31 January 1969, a day after the Apple rooftop concert.
"The Long and Winding Road" – 3:36
Released in the U.S. on 11 May 1970, where it reached No. 1 for two weeks on 13 June. First included on Let It Be.
The DVD/BD track is from the film Let It Be, with footage being used from the same recording sessions as "Let It Be". The only exception with both videos is that the audio from the sessions was used in this video instead of the one for "Let It Be".

Second DVD/Blu-ray in 1+

"Twist and Shout" (Bert Berns/Phil Medley)
Recorded at Studio Four, Granada TV Centre, Manchester, England, 14 August 1963 as a part of Scene at 6.30.
"Baby It's You" (Burt Bacharach/Mack David/Barney Williams)
From episode 2 of the BBC radio series Pop Go the Beatles, recorded 1 June 1963, aired 11 June; combined with black and white footage of The Beatles' dancing and released to promote Live at the BBC. (1995)
"Words of Love" (Buddy Holly)
From episode 10 of Pop Go the Beatles, recorded 16 July 1963, aired 20 August, with sound effects added in video production; released to promote On Air – Live at the BBC Volume 2. (2013)
"Please Please Me"
From The Ed Sullivan Show, recorded 9 February 1964 (at Studio 50, New York City, New York), aired 23 February.
"I Feel Fine"
Alternate promotional film. Filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Day Tripper"
Lip-synching filmed for the television special The Music of Lennon and McCartney (done at Granada TV Centre, Manchester, England, 1–2 November 1965), aired 16 December 1965 in London, 17 December in the rest of Britain.
"Day Tripper"
Alternate promotional film. Filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"We Can Work It Out"
Alternate promotional film. Filmed at Twickenham Film Studios, Middlesex, England, 23 November 1965.
"Paperback Writer"
Alternate promotional film. Filmed at Studio One, Abbey Road Studios, London, England, 19 May 1966.
"Rain"
Promo video filmed in colour at Chiswick House, Chiswick, London, England, 20 May 1966; later aired in black and white on Top of the Pops.
"Rain"
Alternate promotional film. Filmed at Studio One, Abbey Road Studios, London, England, 19 May 1966; later aired in black and white on Ready Steady Go! on 3 June.
"Strawberry Fields Forever"
Promo video filmed at Knole Park, Sevenoaks, Kent, 30–31 January 1967; later aired as an audio-only clip on Juke Box Jury and in its entirety on Top of the Pops.
"Within You Without You/Tomorrow Never Knows"
Mash-up from the album Love (2006)
"A Day in the Life"
Promo video filmed at Studio One, Abbey Road Studios, London, England, 10 February 1967 during the recording sessions of said song who included the orchestra with their wacky costumes Mick Jagger and Keith Richards of The Rolling Stones, which provided the inspiration for the live broadcast for "All You Need Is Love".
"Hello, Goodbye"
Alternate promotional film. Promo video filmed at Saville Theatre, London, England, 10 November 1967; featured The Beatles in "street clothes".
"Hello, Goodbye"
Third version promotional film. Promo video filmed at Saville Theatre, London, England, 10 November 1967; combination of the previous two videos along with additional footage.
"Hey Bulldog"
Promo video filmed at Studio Three, Abbey Road Studios, London, England, 11 February 1968 during the recording sessions of said song and re-edited in 1999; footage used in the "Lady Madonna" promo video
"Hey Jude"
Alternate promotional recording made on 4 September 1968, with live vocal from McCartney; the audio differences from the version on the first disc are the introduction of the song and McCartney's live vocal.
"Revolution"
Promotional recording made on 4 September 1968 at Twickenham Film Studios, Middlesex, England, with live vocals (and the backing track in mono); later aired on Top of the Pops on 19 September and The Smothers Brothers Comedy Hour on 13 October, both in black and white.
"Get Back"
Filmed at Twickenham Studios and Apple Studio, Saville Row, London, England, 28 January 1969 and edited together to promote Let It Be... Naked. (2003)
"Don't Let Me Down"
Audio track from the album Let It Be... Naked, an edit of two of the Apple headquarters rooftop performances on 30 January 1969 at Saville Row, London, England.
"Free as a Bird (2015 Mix)" (Lennon/McCartney/Harrison/Richard Starkey)
Filmed for the premiere (and aired as a part) of the documentary The Beatles Anthology on 19 November 1995. The video uses a new mix of the song, prepared for this release, which cleans up Lennon's vocal further, and uses a different take of Harrison's vocal phrase, replacing the lyric "whatever happened to the life that we once knew" with "whatever happened to the love that we once knew"
"Real Love (2015 Mix)" (Lennon)
Filmed originally for The Beatles Anthology but later used as a part of the 2003 DVD reissue of the documentary; a different video was used for the second instalment of the documentary on 22 November 1995. The video uses a new mix of the song, prepared for this release, which cleans up Lennon's vocal further, and reinstates several deleted elements originally recorded in 1995, such as lead guitar phrases and drum fills, as well as making the harpsichord and harmonium more prominent in the mix.

Vinyl

Side one (1962–64) 18:46

"Love Me Do"
"From Me to You"
"She Loves You"
"I Want to Hold Your Hand"
"Can't Buy Me Love"
"A Hard Day's Night"
"I Feel Fine"
"Eight Days a Week"

Side two (1965–66) 19:33

"Ticket to Ride"
"Help!"
"Yesterday"
"Day Tripper"
"We Can Work It Out"
"Paperback Writer"
"Yellow Submarine"
"Eleanor Rigby"



Side three (1967–68) 19:30

"Penny Lane"
"All You Need Is Love"
"Hello, Goodbye"
"Lady Madonna"
"Hey Jude"

Side four (1969–70) 20:50

"Get Back"
"The Ballad of John and Yoko"
"Something"
"Come Together"
"Let It Be"
"The Long and Winding Road"

Personnel

John Lennon: vocals, guitars, keyboards, harmonica, bass, percussion
Paul McCartney: vocals, bass, keyboards, guitars, percussion, drums on "The Ballad of John and Yoko"
George Harrison: guitars, percussion, backing vocals, lead vocals on "Something"
Ringo Starr: drums, percussion, lead vocals on "Yellow Submarine", backing vocals on "Hey Jude"

Additional musicians

George Martin: piano on "A Hard Day's Night", "Penny Lane" and "All You Need Is Love"
Mal Evans: bass drum on "Yellow Submarine"
David Mason: piccolo trumpet solo on "Penny Lane", trumpet on "All You Need Is Love"
Billy Preston: Hammond organ on "Let It Be" and "Something", electric piano on "Get Back" and "The Long and Winding Road"
Ronnie Scott: tenor saxophone solo on "Lady Madonna"
Andy White: drums on "Love Me Do"

Source: https://en.wikipedia.org/wiki/1_(Beatles_album)



















































February 25, 2022

The Beatles Bootleg Recordings


The Beatles' bootleg recordings (also known as "Beatlegs") are recordings of performances by the Beatles that have attained some level of public circulation without being available as a legal release. The term most often refers to audio recordings, but also includes video performances. Starting with vinyl releases in the 1970s, through CD issues in the late 1980s, and continuing with digital downloads starting in the mid 1990s, the Beatles have been, and continue to be, among the most bootlegged artists.

Bootleg recordings arise from a multitude of sources, including radio and TV broadcast performances, live shows, studio outtakes and session tapes, alternate mixes, test discs, and home demos. The largest single source of Beatles bootleg material is the set of Nagra audio tapes from the 1969 filming of the Get Back / Let It Be rehearsal and recording sessions.

Historical overview

The 1970s saw the first Beatle bootlegs issued on vinyl records. The first Beatles bootleg was Kum Back, issued around January 1970 in a plain white sleeve with plain white labels and no mention of a record company.[1] This vinyl bootleg was based on an acetate of one of the early rough mixes by Glyn Johns of the Get Back album (which would later become Let It Be).[2] John Lennon may have been the unintentional source for one of the Get Back bootlegs; Lennon said: "They say it came from an acetate that I gave to someone who then went and broadcast it as being an advance pressing or something."[3]

Other notable bootlegs to appear in the early 1970s were Yellow Matter Custard, containing 14 BBC Radio performances from 1963, (originally these tracks were thought to be from the Decca audition of January 1962, and Lennon himself told McCartney about the album)[4] and Sweet Apple Trax, a two-volume four-disc collection of songs and jams from the Get Back rehearsal sessions first issued in 1974.[5] In 1977, a copy of the Beatles' Decca audition tape was bought by a collector, who released the songs over a series of seven 45 rpm singles pressed on coloured vinyl with full colour picture sleeves.[5] Bootleggers of this era often copied and repackaged each other's releases, so popular titles often appeared from more than one bootleg label. The biggest labels for Beatles material in the 1970s were Kornyfone (TAKRL), ContraBand, Trademark of Quality and Wizardo.[6]

EMI had planned to release an album of alternate takes and previously unreleased songs by the Beatles in 1985 called Sessions, but the Beatles objected after it had been compiled; by the end of the year, bootleg copies were widely available.[7] During the cataloguing and review of the EMI archives in the early 1980s in preparation for the Sessions album and a multimedia show given at Abbey Road Studios, it is suspected that high quality copies of some of the material were surreptitiously made.[5] This may have been the source for the Ultra Rare Trax CD series from Swingin' Pig that started appearing in 1988, which provided takes never previously bootlegged in clarity that rivalled official releases.[8]

The late 1980s also saw the emergence of Yellow Dog, a label specialising in Beatles studio outtakes, who released the CD series Unsurpassed Masters in quality similar to Ultra Rare Trax; Yellow Dog, like Swingin' Pig's parent company Perfect Beat, was registered in Luxembourg, which had the most liberal copyright laws among EU countries.[9] Yellow Dog released Unsurpassed Demos in 1991, featuring 22 songs from the 1968 Kinfauns (Esher) demos, only some of which had been previously made public during the radio series The Lost Lennon Tapes that debuted in 1988.[7]

In 1993, a nine CD box set of the Beatles' BBC radio performances was released in Italy by Great Dane. The official Live at the BBC and Anthology releases in 1994–1996 covered much of the highlights of previously bootlegged material, in sound quality that most bootlegs could not match. However, new bootlegs continued to appear, with bootleggers including the word "anthology" in the title of many of their collections. Starting in 1999, Silent Sea issued a series of CD-Rs, featuring recompiled studio outtakes with commercial-quality packaging and liner notes.[10] In 2000, the Vigotone label followed up their earlier eight-CD package of Get Back session recordings with a seventeen-CD collection called Thirty Days.[11] In the early 2000s, the DVD format enhanced the availability of Beatles bootleg videos, covering filmed concerts, TV appearances, promotional films, and even rare clips and outtakes.[12] From 2017 to 2021 the six-volume The Lost Album series brings together for the first time almost 100% of the Beatles' unpublished or never officially released recordings (as per the words of the publisher Bruno Ribeiro), including home demos, studio demos, unreleased/unpublished songs, studio sessions outtakes, home jams, rehearsals, improvs, alternate takes/demos, concerts, auditions, unpublished alternate mixes, studio monitor mixes, acetates, informal sessions, home tapes, live recordings, meetings, appearances on tv/movies/radio/specials/video/events/songs in interviews and other unofficial audio materials.

The availability of high-speed Internet has transformed the bootlegging industry. The Purple Chick label has assembled and digitally fine-tuned many comprehensive themed packages, including individual studio album sessions, the Get Back sessions, and the BBC performances, all distributed free through various fan trading sites online.[20][21] Author Richie Unterberger noted that it is "now theoretically possible to assemble a complete collection of the circulating unreleased Beatles recordings without ever buying a bootleg."[12]

Commonly bootlegged material

Several books have been devoted to comprehensively documenting Beatles bootlegs; the following is a list of some of the most common or notable bootlegged recordings by the Beatles.

The Quarrymen / Silver Beatles era (1957–1960)

Other than the commercially released songs with Tony Sheridan issued on In the Beginning (Circa 1960), only three recordings made by the group prior to 1962 have become public.[22]

The Quarrymen show, 6 July 1957. The Quarrymen played a show for the Woolton fête at St Peter's Parish Church, notable as the day that Paul McCartney was first introduced to Lennon by a mutual friend, Ivan Vaughan. In 1994, Bob Molyneux, a retired policeman, rediscovered a reel-to-reel tape he had made of the show while experimenting with a Grundig portable tape recorder. The tape contained a poor quality recording of the Quarrymen performances of Lonnie Donegan's "Puttin' On the Style" and Elvis Presley's "Baby, Let's Play House". A thirty-second excerpt of "Putting on the Style" was released to promote the tape's auction at Sotheby's later that year; the tape was bought by EMI for £78,500, becoming the most expensive recording ever sold at auction. EMI decided the recording was not of sufficient quality to include in Anthology. After extensive audio restoration, excerpts from both songs were included in the BBC radio documentary The Day John Met Paul, broadcast on 26 June 2007.

The Quarrymen acetate, 1958. on July 12, 1958, The Quarrymen paid to record themselves at Phillips' Sound Recording Services in Liverpool, performing "That'll Be the Day" and "In Spite of All the Danger". These were included on Anthology 1, although the latter song was edited.[22]

Home rehearsals, 1960. More than one hour of the band's home rehearsals from 1960 have appeared on bootlegs, although the recording's date and location are uncertain. McCartney once said that it was taped at his home in April 1960;[23] the recording may also originate from two separate sessions a few months apart.[24] Three of the songs were included on Anthology 1. The recording also featured early versions of songs that the Beatles would later record in the studio ("Matchbox", "One After 909", "I'll Follow the Sun"). Other songs that were recorded during these rehearsals include "Well, Darlin'", "Hello Little Girl", "That's When Your Heartaches Begin", "Wildcat", "I'll Always Be in Love with You", "Some Days", "Hallelujah I Love Her So", "The World Is Waiting for the Sunrise", "You Must Write Every Day", "Movin' and Groovin'", and "Ramrod".

A collection of all these recordings were released on the bootleg recording Lapis Lazuli, featuring a longer version of “Puttin’ on the Style” and all of the Beatles home recordings made in early 1960.

Decca audition (1962)

The Beatles performed fifteen songs that were recorded at their audition for Decca Records on 1 January 1962 (three Lennon–McCartney compositions and twelve cover versions). Five of these songs were included on Anthology 1.

Fourteen of the fifteen tracks appeared on a series of coloured vinyl singles with picture sleeves, released in 1978 on the Deccagone label through Strawberry Fields Forever, Joe Pope's fanzine. The following year, all fifteen tracks appeared on the Circuit Records bootleg album The Decca Tapes.

Due to the questionable copyright status of these performances (recorded prior to the group's EMI contract), the Decca audition was commercially distributed in various configurations starting in 1981; some of these "grey market" albums omitted the three Lennon–McCartney songs.[25] By the late 1980s, legal action by the Beatles had halted commercial availability of the albums.[26] In addition to continued inclusion on bootlegs, a small US record label issued the songs on CD through mail order in 2007 as The Lost Decca Sessions, which it described as legal and licensed.[27]

Cavern Club rehearsals and TV shoot (1962)

Sometime between August and December 1962, the Beatles recorded themselves rehearsing at the Cavern Club, performing "I Saw Her Standing There", "One After 909" (two versions), and "Catswalk" (two versions).[28]

On August 22, 1962, a crew from Granada Television shot footage of the band performing live at the Cavern for use in the television show Scene at 6:30; the crew filmed two takes of the band performing "Some Other Guy." The following month, on September 5, a Granada sound crew returned to capture better audio of the band to sync to the film footage, as they felt the audio from the original shoot was not of satisfactory quality. A new recording of "Some Other Guy" and a recording of "Kansas City/Hey-Hey-Hey-Hey!" come from this performance. The shoot constitutes the earliest professional film footage of the Beatles, and would have been the Beatles' first appearance on television, but the footage was shelved for over a year, and was first broadcast after the Beatles had achieved nationwide success. Instead, Grenada booked the group for a live, in-studio performance on 17 October 1962. The Cavern footage has been seen on The Beatles Anthology and other documentary sources, and audio from both dates have circulated amongst bootleggers.

Star-Club performances (1962)

As the Beatles were concluding their final two-week Hamburg engagement in late December 1962, portions of their performances were taped by Star-Club stage manager Adrian Barber; the tapes were acquired by Ted "Kingsize" Taylor, the leader of KingsizeTaylor and The Dominoes at the club.[29] Eventually Taylor sold the tapes, which formed the basis of the double album Live! at the Star-Club in Hamburg, Germany; 1962, released in 1977 by Lingasong Records.

The liner notes for the initial release falsely implied that the recordings had been made in the spring of 1962, prior to the Beatles' EMI contract, on a night when Ringo Starr happened to be sitting in for Pete Best. In commentary for a lawsuit to block the album's release, John Lennon wrote, "the sleeve note, apart from being inaccurate, seems to have been written with a court case in mind." The Beatles lost their case, so the album was viewed as a legitimate release. The thirty songs contained on the initial releases were re-licensed over the following two decades to multiple record labels, most notably Sony Music, which packaged the songs in CD form in 1991 (although the product was withdrawn the following year as legal action was pending from the Beatles). After another lawsuit by the Beatles, Lingasong agreed in 1998 to hand over the original tapes and stop all sales.

Compared with a properly recorded live concert, the sound quality of the tape is poor, with the vocals in particular sounding "muffled and distant" at best.[29] But for a recording made with 1 mic from the audience with a home-use reel-to-reel, the quality is very good. The Beatles display a rawness that matches the raucous Hamburg atmosphere. While the Beatles would later record many of the thirty songs in the studio or perform them for the BBC, nine of the songs would never be officially released in another version.[29]

Additional material from the Star-Club tapes has been bootlegged, including "Road Runner", "Money (That's What I Want)" (with Tony Sheridan singing lead), a portion of "Red Hot", and alternate performances of several songs.[29]

The BBC sessions (1962–1965)

The Beatles performed for fifty-two BBC Radio programmes, beginning with an appearance on the series Teenager's Turn—Here We Go, recorded on 7 March 1962, and ending with the special The Beatles Invite You to Take a Ticket to Ride, recorded on 26 May 1965; in total, 275 performances of 88 different songs were broadcast.[4] Early bootlegs of some of the performances were based on low-quality home recordings of the broadcasts from the radio. It was not the BBC's practice to archive either the session tapes or the shows' master tapes, but many good quality distribution copies were found in various BBC departments during research for BBC radio specials produced in the 1980s.[30]

Increasingly comprehensive collections of the BBC performances were bootlegged in the 1980s and early 1990s. The most notable of these was The Complete BBC Sessions, a nine CD box set released in 1993 by Great Dane in Italy, where copyright protection for the broadcasts had expired;[31] The widespread availability of good quality bootlegs prompted Apple's own release of BBC performances in 1994, the two CD set Live at the BBC. The set included 30 of the 36 songs that the Beatles never performed on their studio albums, plus 26 other songs and dialogue among the group members and the radio hosts. In 1999, a 10 CD box set The Complete BBC Sessions 1962-1966 was released in Japan by Secret Trax[32] which was soon followed by 3 CD set Attack of the Filler BEEBS! on the same label featuring additions to the box set.

Starting in the 2000s, the popularity of digital downloads through BitTorrent made it possible to replace physical media with virtual box sets of BBC material provided by fans for fans made available free of charge. In 2004, Purple Chick released The Complete BBC Sessions Upgraded as a digital set of ten audio CDs plus one multimedia CD.[20] In 2010, Hobnail released a virtual 13 disc release Unsurpassed Broadcasts. 2015 saw the release of The BBC Archives, by an anonymous source. This set of 23 virtual CDs and one virtual DVD contains all of the available BBC material in the best quality, as well as some previously unreleased radio shows and upgraded material.

Studio outtakes and alternate mixes (1962–1970)

A large number of Beatles studio outtakes are available on bootlegs, ranging from complete session tapes—for example, the morning sessions for the Please Please Me album—to more fragmentary samplings, or alternate mixes and performances derived from acetates. The first studio outtake to appear on bootleg was the White Album outtake "What's The New Mary Jane" in 1972, which fell into the hands of bootleggers via an acetate that Lennon had traded to a friend. In 1977, rough mixes from acetates of "I Am the Walrus" and "The Fool on the Hill" appeared on bootlegs after being played on a Radio Luxembourg broadcast.[33]

After the Beatles' EMI contract expired in 1976, the company began assessing the band's unreleased material for a future release. The first batch of songs to leak came from an in-house compilation cassette that contained "Leave My Kitten Alone", "One After 909" (from 1963), "If You've Got Trouble", "Christmas Time (Is Here Again)", "That Means a Lot", "Come and Get It", "Dig a Pony" (unedited version), and two medleys from the Get Back / Let It Be sessions: "Rip It Up / Shake, Rattle and Roll" and "Not Fade Away / Bo Diddley".[34]

In 1981, in-house engineer John Barrett was given the task of cataloguing the complete collection of tapes from the band's seven-year career with EMI. This led to two projects: a public audio-visual presentation at Abbey Road Studios called The Beatles Live at Abbey Road (which opened on 18 July 1983) and a planned outtakes album which was to be called Sessions. In addition to some of the songs included on the previously leaked compilation tape, Sessions added "Not Guilty", "What's the New Mary Jane", "How Do You Do It?", "Bésame Mucho", "Mailman, Bring Me No More Blues", "While My Guitar Gently Weeps" (demo), and early takes of "Ob-La-Di, Ob-La-Da" and "I'm Looking Through You".[34] Shortly before the album's scheduled 1985 release, it was vetoed by the surviving members of the band; but both audience recordings of the Abbey Road presentation and the leaked promos of Sessions became available to bootleggers. These songs appeared on bootleg series such as Ultra-Rare Trax and Unsurpassed Masters, along with other material presumably copied while preparing these projects. Most of the aforementioned tracks were officially released on the Anthology albums in 1995 and 1996.

New Beatles studio outtakes continue to occasionally appear; in February 2009, a complete 10:46 recording of “Revolution 1 (Take 20)” from the White Album sessions was released on the bootleg Revolution: Take... Your Knickers Off!. This version begins with Lennon jokingly counting that way.[35]

Live concerts (1963–1966)

Many of the Beatles' concert performances have appeared on bootleg albums. The earliest relatively complete concert recording is from the 7 December 1963 show at the Liverpool Empire Theatre.[36] The Beatles Anthology contained video clips from several concerts, some of which are available in complete form on bootleg video. The following are some of the most notable concerts on bootleg releases.

Washington Coliseum, 1964. The Beatles' first US concert, on 11 February 1964 in Washington, D.C., was captured on black-and-white video for later closed-circuit presentations in cinemas.[37] Some of the video was included in Anthology and in The Beatles: The First US Visit, and most of it was included in the 2003 DVD The Beatles in Washington D.C. from Passport Video. The entire video was released on the grey market DVD Beatles Around the World.[37] All video releases suffer from "dark, grainy, and flickery" image quality;[37] a report of a 2005 auction of the original master tape gives the possibility of a better quality release in the future.[38] In 2010 the Beatles at last came to iTunes and along with their back catalogue they brought with them a video of this show.[39] The video was made available with the purchase of the iTunes version of The Beatles Stereo Box Set simply called The Beatles Box Set where all albums were released as iTunes LP's featuring on-screen album artwork and the Mini Documentaries from the DVD in the physical release.[40]

Hollywood Bowl, 1964 and 1965. The Beatles at the Hollywood Bowl, an official release by EMI in 1977, contained selections from the Beatles' three Hollywood Bowl shows professionally recorded in August 1964 and August 1965. An authorized CD of the remixed 1977 album with 4 bonus tracks was released in September 2016. Bootleg needle drop copies are available, as well as bootleg compilations of the three performances in their entirety.

Palais des Sports, 1965. The Beatles performed two shows on 20 June 1965 at the Palais des Sports in Paris. Both were broadcast over French radio, resulting in bootleg recordings of decent quality; video of the second show also exists.[41]

Shea Stadium, 1965. The Beatles' concert at Shea Stadium on 15 August 1965 was filmed for a television special, The Beatles at Shea Stadium. The programme and its soundtrack have been bootlegged in various formats. One song, "Everybody's Trying to Be My Baby", was officially released on Anthology 2. A thirty-minute reissue of the footage of the concert was remastered and issued simultaneously with the release of the Ron Howard film The Beatles: Eight Days a Week on 15 September 2016.[42]

Budokan, 1966. The Beatles performed for three days at the Nippon Budokan in Tokyo beginning 30 June 1966, with the first two concerts (30 June 1966 and the afternoon show on 1 July) filmed in colour for Japanese television. The first night's concert video was officially released by Apple in Japan only as Beatles Concert at Budokan 1966. Excerpts from both shows (along with silent colour footage of the first show on 2 July) were included in The Beatles Anthology.

Candlestick Park, 1966. Notable as the Beatles' final paid concert performance, the 29 August 1966 show at Candlestick Park in San Francisco was taped by press officer Tony Barrow on a portable recorder at the request of McCartney; the tape ran out before the last few minutes of the show.[43]

Television performances (1963–1968)

The Beatles performed on various television programmes; excerpts from many of these were shown in the Anthology documentary, and bootleg video exists of many of the shows in their entirety. The most famous of these were the four appearances on The Ed Sullivan Show in 1964 and 1965; after many years circulating on bootlegs, these received official DVD release in 2003 as The Four Complete Historic Ed Sullivan Shows Featuring The Beatles.[44]

Other notable television performances that have appeared on bootleg video include the Swedish show Drop In from October 1963 (four songs);[45] the April 1964 UK special Around The Beatles (six songs mimed to new recordings);[46] the June 1964 Australian special The Beatles Sing for Shell (seven songs survived in complete form, plus fragments of two others);[47] and a September 1968 appearance on Frost on Sunday (new vocals for "Hey Jude" and "Revolution" over studio backing tracks, plus brief improvisations), for which multiple takes are available.[48]

Home demos (1963–1969)

The individual Beatles sometimes recorded basic performances at home of their new compositions, either for copyright purposes (to be sent to Dick James Music publishing affiliate Northern Songs), to later play for the other Beatles, or to give to other artists who would be recording the songs.

Many of Lennon's demos that appeared on bootlegs were first heard on the radio series The Lost Lennon Tapes. Some of the Lennon demos available include "Bad To Me" (1963, given to Billy J. Kramer), "I'm in Love" (1963, given to The Fourmost [although some scholars date this as a late seventies piano rendition]), "If I Fell" (1964), and "Everyone Had A Hard Year" (1968, later incorporated into "I've Got a Feeling"). There are also Lennon demos available of songs that would develop into "She Said She Said", "Strawberry Fields Forever", "Good Morning Good Morning", "Across the Universe", "You Know My Name (Look Up The Number)", "Don't Let Me Down", and two songs he would later record after the Beatles, "Oh My Love" and "Cold Turkey". Lennon's home recordings of "Bad To Me" and "I'm in Love" were briefly released on iTunes in December 2013 in order to extend the copyright terms of the tracks.[49]

McCartney's demos include "One and One Is Two" (1964, eventually an uncharted single for Mike Shannon and the Strangers), "Step Inside Love" (1968, given to Cilla Black), "Goodbye" (1969, given to Mary Hopkin), "Come and Get it" (1969, given to Badfinger), and early versions of "We Can Work It Out" (partially taped over by Lennon) and "Michelle". Harrison's 1963 demo for "Don't Bother Me" has also been bootlegged.

Christmas recordings (1963–1969)

Every year from 1963 through to 1969, the Beatles recorded a flexi disc of comedy and music that was sent to members of their fan club. In 1970, these recordings were compiled onto an LP released via their fan club called From Then to You (US title: The Beatles' Christmas Album). Since these singles or compilation album had no official general-public release prior to 2017, all have been frequently bootlegged, some with additional outtakes from Christmas recording sessions, and some supplemented with Christmas themed BBC recordings. A portion of one song recorded for the 1967 Christmas flexi disc, "Christmas Time (Is Here Again)", was officially released as an additional track on the 1995 "Free as a Bird" single. Part of the 1963 track is featured as an unlockable special feature on The Beatles: Rock Band. In 2017, Apple released The Christmas Records as a box set of seven 7" 45 rpm records pressed on coloured vinyl in replica sleeves.

The White Album (Esher) demos (1968)

In May 1968, the Beatles met at Kinfauns, the Esher home of George Harrison, to review and record demos of songs under consideration for their next album; twenty-seven songs, mostly acoustic, have become public from this session.[50] Seven of these songs were released on Anthology 3, including "Junk", a song McCartney would later record for his first solo album. Of the twenty demo songs not officially released, fifteen would be recorded and released on the White Album, while "Not Guilty" and "What's the New Mary Jane" would be recorded for the album but not make the final line-up. The recordings included on the Anthology series were of a significantly higher fidelity (they came from George's original stereo reels of the demo sessions, and processed at Abbey Road Studios) than the bootlegged recordings (which probably came from John's mono copy of the tapes), raising the possibility that there were higher-quality versions of all twenty-seven songs. In 2018, all twenty-seven original Esher demos were released in high-quality as part of the deluxe 50th Anniversary reissue of The Beatles, taken from Harrison's original 4-track master tapes. Giles Martin described the tapes as: “To me, it is like the Beatles unplugged. These are demos but they are good: they double-tracked themselves.” [51]

Three additional songs would never be recorded in the studio by the Beatles:

"Child of Nature", later released by Lennon, with different lyrics, as "Jealous Guy" on Imagine.

"Circles", released by Harrison on his 1982 album Gone Troppo.

"Sour Milk Sea", a Harrison song given to Jackie Lomax and released in August 1968 as one of the first Apple Records singles.

Get Back / Let It Be sessions (1969)

In January 1969, the Beatles got together with director Michael Lindsay-Hogg to film the rehearsals for the group's proposed first live concert since 1966. This project would concentrate on new material, and was intended to form the basis for both a television documentary and a new album, which were given the title of Get Back.[52] But disagreements and a general lack of enthusiasm within the group led to much of the project never being fully completed. However, a one-off live performance was filmed and recorded on the rooftop of Apple Records on 30 January 1969, and the title song "Get Back" was released as a single in April 1969. After essentially being abandoned by the Beatles for more than a year, the project was eventually renamed and released in May 1970; with the film footage now becoming a feature film, Let It Be, and the new songs becoming an album of the same name.

The rehearsals and recordings took place at Twickenham Film Studios (2–14 January) and then at Apple (20–31 January), with more than one hundred hours captured on film and the corresponding Nagra tape recorders used for the film's audio track. These Nagra tapes are the source for most, but not all, of the bootlegs from these sessions.[52] In addition to songs that would later be released by the group, the Beatles played hundreds of cover versions and original compositions. However, many of the performances were brief (some lasting less than ten seconds), and many of the original compositions are undeveloped ideas or improvisations that have been described as the audio equivalent of doodling.[52] A sampling of the rehearsals was officially issued as a bonus disc with Let It Be... Naked.

Among the more complete rehearsed songs that have been featured on bootlegs are "Watching Rainbows", "Commonwealth", Suzy's Parlour (published under the name Suzy Parker), and "The Palace of the King of the Birds" (later recorded but not released by McCartney as "Castle of the King of the Birds"); "All Things Must Pass", "Let It Down", "Isn't It a Pity" and "Hear Me Lord", later released by Harrison; "Gimme Some Truth" and "Oh My Love", later released by Lennon; and "Teddy Boy" and "Hot as Sun", later released by McCartney.

Portions of the rooftop concert were seen in the Let It Be film and the Anthology documentary, and three tracks were used for the Let It Be album, while the complete recording has been bootlegged. The performance consisted of "Get Back" (first and second versions), "Don't Let Me Down", "I've Got a Feeling", "One After 909", "Dig a Pony", "God Save the Queen" (a brief version played while the audio tape reel was changed), "I've Got a Feeling" (second version), "Don't Let Me Down" (second version), and "Get Back" (third version).

On 30 January 1969, Glyn Johns compiled some performances he had been mixing, and made acetate copies for the Beatles. In addition to songs that would eventually appear on Let It Be, this set included "Teddy Boy", "The Walk", by Jimmy McCracklin, and a rock and roll medley that included songs such as "I'm Ready", an early Fats Domino song, and "Shake Rattle and Roll", by Big Joe Turner. This was the first version that leaked out and broadcast on multiple radio stations starting in September 1969, and formed the basis for the bootleg Kum Back that appeared near the end of 1969.[53] Johns started working in earnest on compiling an album in March 1969, and a test acetate from this period eventually surfaced on a poor quality bootleg called “O.P.D.”.[54]

Johns later made two "official" attempts at compiling the Get Back album, with both versions widely bootlegged. The 28 May 1969 compilation by Johns contained the following line-up: "One After 909", "Rocker", "Save the Last Dance for Me", "Don't Let Me Down", "Dig a Pony", "I've Got a Feeling", "Get Back", "For You Blue", "Teddy Boy", "Two of Us", "Maggie Mae", "Dig It", "Let It Be", "The Long and Winding Road", and "Get Back (Reprise)". The main changes made for the 5 January 1970 compilation were the removal of "Teddy Boy" and the additions of "I Me Mine" and "Across the Universe".[55]

One of the myriad Get Back session compilation bootlegs was The Black Album, a three-LP set from the 1980s in a memorable package (although the material has since been bootlegged in superior sound quality).[12] In the early 2000s, Yellow Dog Records created Day by Day, a 38-part CD series the majority of the Nagra tape recordings, with improved audio quality compared to earlier releases. In January 2003, nearly 500 of the original Nagra tapes were recovered by police in England and the Netherlands, with five people arrested.[56]

Even after the raid, bootlegging of the material continued with the Purple Chick label releasing their own digital A/B Road Nagra tape collection.

Studio album needle drops

Starting in 1987, Apple began officially reissuing the Beatles catalogue on CD. However, as digital remastering was still in its infancy, many fans and audiophiles were disappointed with the sound quality of the official reissues, preferring the “warmth” of the vinyl releases.[57] Many fans also clamoured for the digital release of the original Beatles Capitol albums as they contained many unique mixes different from the UK releases. Several bootleggers stepped in to fill this void by offering digital copies of their own needle drops of the entire Beatles catalogue, typically using premium vinyl pressings played and digitised with high-end audio equipment. While these unauthorized copies are not bootlegs as commonly defined, their creation and distribution channels overlap with bootleg products.

Some of the widely distributed collections are the BEAT/Red Robin, Dr. Ebbetts,[58] and Millennium Remasters series and the Beatles' remasters on "DLH Records." The official remastering of the Beatles' catalogue in stereo and mono, released by Apple in September 2009 on both CD and vinyl, has largely made these bootleg remasters obsolete; however collectors in search of authentic original (and in some cases unique) mixes still find them of historical interest. The Beatles' official catalogue of their original stereo studio albums has since been issued via digital download through iTunes.

Material not bootlegged

A considerable amount of additional never-circulated Beatles material is believed to exist, either in private possession or studio vaults, as mentioned in documents and recollections.

From the group's early years, it has been reported that additional songs exist from the 1960 Quarrymen rehearsal tapes, including a Lennon–McCartney instrumental "Winston's Walk" and early versions of "When I'm Sixty-Four" and "Ask Me Why".[22] Another recording of considerable interest is a tape of 18 songs from a Beatles show in mid-1962 at the Cavern Club, recorded from the audience. The tape includes several cover versions of songs not available elsewhere by the Beatles, including the Bruce Channel number one "Hey! Baby", James Ray's "If You Gotta Make a Fool of Somebody", and the Bobby Vee hit "Sharing You". McCartney bought the tape at a 1985 auction, and since none of it was used for Anthology, it has been assumed to be of poor sound quality.[59]

Many demo recordings are known to have been made by the individual Beatles but have yet to become public. Lennon's uncirculated demos include "Do You Want to Know a Secret", "I Call Your Name", "No Reply" (pre-dating the one on Anthology), "In My Life", and "Good Night". McCartney's uncirculated demos include "A World Without Love", "It's for You", "What Goes On", "Eleanor Rigby", "Etcetera" (a 1968 song intended for Marianne Faithfull), and "The Long and Winding Road". However, a small portion of "World Without Love" made its public debut in January 2013 during a series of Peter Asher concerts and has subsequently appeared in full elsewhere.[60] Also the Daily Express announced, on 20 July 2016, the original acetate of "It's for You" demo featuring Paul's voice (it was discovered among other demos in Cilla Black's collection and was proposed for auction).[61] Portions of these two demos, "A World Without Love" and "It's for You", were made available on Beatles bootleg The Lost Album in 2017.[a][62]

Between the official Anthology releases and the numerous outtakes that have been bootlegged, many of the Beatles' most interesting studio recordings are available in some form. Nevertheless, there are still recordings known to be in EMI's archives that have generated particular interest in their eventual release. One is "Carnival of Light", an improvised 14-minute vocal and sound collage that the Beatles created in early 1967 for an art festival; the recording was under consideration for Anthology, and McCartney has been an advocate for its release.[63] Another is take 3 of "Helter Skelter" from 18 July 1968, renowned for its length of twenty-seven minutes. Anthology 3 included only a 4:38 edit of the 12:35 take 2 from that day's work on the song; asked why a longer version wasn't issued, George Martin explained: "I think it gets boring."[64] The full 12 minutes of take 2 were eventually released in 2018 for the 50th anniversary of The Beatles.

Some recordings may no longer exist, if they ever existed originally. A Quarrymen rehearsal that was recorded at Colin Hanton's home was taped over. BBC documentation shows that "Sheila" and two versions of "Three Cool Cats" were recorded and never broadcast, but the tapes were likely reused or discarded, a fate shared by some of the Beatles' studio session tapes prior to late 1963. Carl Perkins said that he joined the Beatles in the studio for a late night jam session on 1 June 1964, but this was probably not taped. Several Lennon–McCartney titles were mentioned in a 1960 letter from McCartney, including "Looking Glass", "Years Roll Along", and "Keep Looking That Way", but there is no evidence that tapes were ever made of those songs during rehearsals from that era.

One final source of uncirculated recordings is the set of sessions held in 1994–1995 for the Anthology project. In addition to the two songs released, two other Lennon demos (which have been bootlegged) became the basis for additional work by the other three Beatles: "Now and Then" and "Grow Old With Me". "Now and Then" was close to being the third new song for Anthology, but it needed more work than the two released songs and was left unfinished; McCartney has indicated an interest in completing the song with Starr.[65] A new song composed by McCartney and Harrison, "All for Love", was also reportedly recorded by the three ex-Beatles at the sessions but never finished.

Fake or disputed bootleg songs

A number of songs have been incorrectly claimed by bootleggers to be unreleased Beatles songs. Some originated as spoofs or parodies: "Bye Bye Bye" ("Nice Time" by Kenny Everett), "Cheese and Onions" (The Rutles), "Magical Misery Tour" (National Lampoon featuring Tony Hendra). Some were by obscure artists whose names were subject to misinterpretation, such as John and Paul ("People Say" / "I'm Walking"), John Lennon and the Bleechers ("Ram You Hard") and Jock Lemmon ("Idle Sock"). Some were by groups with a (sometimes intentional) Beatlesque style, such as The Fourmost ("I Love You Too"), The Gants ("I Wonder"), The End ("Shades of Orange" / "Loving Sacred Loving"), The Brittles ("Ballyhoo"), Lavender Circus ("N. Bourbaki's Multicoloured Jam"), and Smyle ("It's Gonna Be Alright"); or with a lead vocalist sounding like one of the Beatles, as on "We Are the Moles" (Simon Dupree and the Big Sound as The Moles).[citation needed]

A few "outfakes" have been labelled as Beatles tracks many times:

"Have You Heard the Word". This song was credited to The Fut, and it was rumoured to include some of the Beatles playing with some of the Bee Gees. The actual participants in the 1969 recording were Maurice Gibb, the duo Tin Tin, and Billy Laurie. The recording was so plausible as a Lennon song that Yoko Ono tried to copyright its lyrics as a Lennon composition after his death.[66]

"The L.S. Bumble Bee". Peter Cook and Dudley Moore combined psychedelic music with lyrics spoofing LSD. It was rumoured that Lennon was somehow involved, perhaps as a rebuttal to the controversy about possible drug references in songs like "Lucy in the Sky with Diamonds", but Moore has denied this; the song actually predates Sgt. Pepper, having been released in January 1967.[66]

"Oh, I Need You" (also identified as "Oh, I Want You"). This song was purported to have been recorded during early sessions for Abbey Road. The artist has not been determined with certainty, but it is often attributed to the band Mortimer, who signed with Apple Records in 1968.[citation needed]

"Peace of Mind / The Candle Burns". The song was reportedly found in the Apple trash in 1970, but the true origin is still unknown. Some claim it to be an actual Beatles home demo from around 1967, though the lack of any corroborating evidence and the unfamiliar voices on the record have left Beatles experts convinced that it too is a fake. There is a theory that the tape was found at Apple, but was one of the countless demos sent in by aspiring artists looking for a break with the label. In 2011, a YouTuber named "waltonjones3" claimed that he wrote the song and that "Piece of Mind" was the correct title. He also stated that none of the Beatles were involved with the song.

"Colliding Circles", "Left Is Right (And Right Is Wrong)", "Pink Litmus Paper Shirt" and "Deck Chair". In 1971, humorist Martin Lewis compiled a Beatles bootleg discography for Disc magazine, inserting four song titles he'd simply made up: the John Lennon polemic "Left Is Right (And Right Is Wrong)," George Harrison's "Pink Litmus Paper Shirt," a Paul McCartney vaudeville-style number "Deck Chair," and another supposed Lennon track, "Colliding Circles". These spurious tunes were then picked up by other compilers who have continued to propagate them ever since, despite the complete lack of any evidence for their existence.[67] (Outsider musician R. Stevie Moore has since written and recorded tunes entitled "Pink Litmus Paper Shirt" and "Colliding Circles", making them real songs—just not real Beatles songs. In addition, The Brittles, a Beatles pastiche band, has recorded "Left is Right (and Right is Wrong)" and "Deck Chair"). Musician Neil Innes, a Bonzo Dog Band member and Monty Python associate/friend of Martin Lewis, incorporated all four bogus song titles into the song "Unfinished Words", recorded by The Rutles, and released on their album "Archeology".

Source: https://www.wikiwand.com/en/The_Beatles_bootleg_recordings