January 15, 2022

Beatles Get Back TV Special now available on Blu Ray from Apple

 




The Beatles: Get Back 3-Disc Blu-ray Collector's Edition

This is a pre-order. Expected ship date is February 05, 2022.

Directed by filmmaker Peter Jackson, The Beatles: Get Back is a three-part documentary series that takes audiences back in time to the band’s intimate recording sessions. The documentary showcases the warmth, camaraderie and creative genius that defined the legacy of the iconic foursome, and is compiled from over 60 hours of unseen footage shot in January 1969 (by Michael Lindsay-Hogg) and more than 150 hours of unheard audio, all of which has been brilliantly restored. Also featured — for the first time in its entirety — is The Beatles’ last live performance as a group — the unforgettable rooftop concert on London’s Savile Row — as well as other songs and classic compositions featured on the band’s final two albums, Abbey Road and Let It Be.

Director: Peter Jackson
Executive Producers: Jonathan Clyde, Peter Jackson, Jeff Jones, Ken Kamins, Clare Olssen
Creator: Peter Jackson
Cast: Paul McCartney, Ringo Starr, John Lennon, George Harrison

Special Packaging:
Rigid Slipcase
3-disc Softpack
4 Collector Cards

$44.99




Source:
https://usastore.thebeatles.com/product/Y3AMBE705/the-beatles-get-back-3disc-bluray-collectors-edition


January 02, 2022

Beatles From Liverpool to Hamburg 2CD

The Beatles 2CD collection called "From Liverpool to Hamburg" is a combination of recordings from "In the Beginning 1960 - The Beatles Featuring Tony Sheridan" , 8 of the group's first singles, and "Live! At the Star Club in Hamburg, Germany; 1962". It is still on Amazon but unavailable to order. Below is a track listing of all 44 tracks. Not sure if there is anything new here, but it is a worthy addition to have as both of these albums are out of print. These recordings have been available for years from a number of bootleg sources. The Beatles stopped official distribution of these recordings back in 1998. The Star Club recordings sound better from other sources. Details from the wiki and history for them appear below.








1961-1963   
1-1    The Beatles–    Ain't She Sweet
1-2    The Beatles–    Cry For A Shadow
1-3    The Beatles–    When The Saints Go Marching In
Featuring – Tony Sheridan
1-4    The Beatles–    Why
Featuring – Tony Sheridan
1-5    The Beatles–    If You Love Me, Baby
Featuring – Tony Sheridan
1-6    The Beatles–    My Bonnie
Featuring – Tony Sheridan
1-7    The Beatles–    Nobody's Child
Featuring – Tony Sheridan
1-8    The Beat Brothers (2)–    Ready Teddy
1-9    The Beatles–    Sweet Georgia Brown
Featuring – Tony Sheridan
1-10    The Beat Brothers (2)–    What'd I Say
1-11    The Beat Brothers (2)–    Ruby Baby
1-12    The Beat Brothers (2)–    Let's Dance
1-13    The Beat Brothers (2)–    Ya Ya
1-14    The Beat Brothers (2)–    Kansas City
1-15    The Beatles–    Love Me Do
1-16    The Beatles–    P.S. I Love You
1-17    The Beatles–    Please Please Me
1-18    The Beatles–    Baby It's You
1-19    The Beatles–    Do You Know A Secret
1-20    The Beatles–    Twist And Shout
1-21    The Beatles–    From Me To You
1-22    The Beatles–    She Loves You
        1960-1962   
2-1    The Beatles–    I Saw Her Standing There
2-2    The Beatles–    I'm Going To Sit Right Down And Cry
2-3    The Beatles–    Roll Over Beethoven
2-4    The Beatles–    The Hippy Hippy Shake
2-5    The Beatles–    Sweet Little Sixteen
2-6    The Beatles–    Lend Me Your Comb
2-7    The Beatles–    Your Feets Too Big
2-8    The Beatles–    Where Have You Been All My Life
2-9    The Beatles–    Mr. Moonlight
2-10    The Beatles–    A Taste Of Honey
2-11    The Beatles–    Eveybody's Trying To Be My Baby
2-12    The Beatles–    Nothin' Shakin'
2-13    The Beatles–    To Know Her Is To Love Her
2-14    The Beatles–    Little Queenie
2-15    The Beatles–    Sheila
2-16    The Beatles–    Ask Me Why
2-17    The Beatles–    Red Sails In The Sunset
2-18    The Beatles–    Matchbox
2-19    The Beatles–    I'm Talking About You
2-20    The Beatles–    I Wish I Could Shimmy Like My Sister Kate
2-21    The Beatles–    Long Tall Sally
2-22    The Beatles–    I Remember You
 







 

 

 

 

 

 

 

 

 

 

 

 

 

Companies, etc.
    Copyright © – Echos (2)
    Distributed By – Da Music

Notes
CD1 1961-1963
CD2 1960-1962

Source: https://www.discogs.com/release/13090832-The-Beatles-From-Liverpool-To-Hamburg

https://www.amazon.com/Liverpool-Hamburg-Beatles/dp/B075FDDTGK/ref=sr_1_3?crid=22DXFJXV8VIBB&keywords=beatles+from+liverpool+to+hamburg+cd&qid=1641153665&sprefix=beatles+from+liverpool+to+hamburg+cd%2Caps%2C91&sr=8-3

In the Beginning (Circa 1960)
The Beatles featuring Tony Sheridan






History

In the Beginning (Circa 1960) was released by Polydor Records in 1970 (catalogue number 24-4504). It was recorded in Hamburg with The Beatles in 1961 (except for "Sweet Georgia Brown" in 1962) and features Pete Best on the drums. This album, expanded with four more tracks without the Beatles' participation, was originally released as "The Beatles' First !" in Germany in 1964. It was reissued in the United Kingdom in 1967 with the same title - without the exclamation point - then in Canada under the title Very Together in 1969. Previous American releases of this material in 45RPM form was split in 1964 between MGM Records and Atco Records. Polydor (which eventually absorbed MGM) established its United States branch in 1969 which explains why this package was released much later in The Beatles' history. All of the tracks feature vocals by Sheridan except for "Ain't She Sweet", sung by John Lennon, and the instrumental "Cry for a Shadow". The album was released only four days before Let It Be, The Beatles' final studio album. This is therefore the last Beatles compilation album released whilst the band were still releasing studio albums although the group was already unofficially split.

All subsequent releases of Sheridan/Beatles/Beat Brothers material are simply repackages of the same tracks. In the Beginning (Circa 1960) was also the only Beatles album not owned by EMI though Universal's purchase of Polydor and the Beatles' main catalogue put them under the same ownership. In 1984, this album was released on CD by Polydor under the title "The Early Tapes of the Beatles" with two additional tracks by Sheridan and with both parts of "Ya Ya". Only part one of that track was released on the original LP.

For a time, In the Beginning (Circa 1960) was the only Beatles album available on the iTunes Store until the full catalogue of the Beatles was made available in 2011, although it is not available for purchase any longer.

Track listing

All vocals by Tony Sheridan unless otherwise indicated.

Side one
  1. "Ain't She Sweet" (Ager/Yellen) (vocal: John Lennon) – 2:10
  2. "Cry for a Shadow" (Harrison/Lennon) (instrumental) – 2:22
  3. "Let's Dance" (Lee) (by Tony Sheridan & The Beat Brothers) – 2:32
  4. "My Bonnie" (traditional) – 2:06
  5. "Take Out Some Insurance on Me, Baby" (Hall/Singleton) – 2:52
  6. "What'd I Say" (Charles) (by Tony Sheridan & The Beat Brothers) – 2:37
Side two
  1. "Sweet Georgia Brown" (Bernie/Casey/Pinkard) – 2:03
  2. "When the Saints Go Marching In" (traditional) – 3:19
  3. "Ruby Baby" (Leiber/Stoller) (by Tony Sheridan & The Beat Brothers) – 2:48
  4. "Why" (Crompton/Sheridan) – 2:55
  5. "Nobody's Child" (Coben/Foree) – 3:52
  6. "Ya Ya" (Dorsey/Lewis/Robinson) (by Tony Sheridan & The Beat Brothers) – 2:48
Source: https://en.wikipedia.org/wiki/In_the_Beginning_(Circa_1960)



Live! at the Star-Club in Hamburg, Germany; 1962


RECORD LABEL: Walters Records CATALOGUE No: BDR80012-CD





Below is the older CD and vinyl release on 2 LPs:












Below is the vinyl album back cover:



Some other bootlegs of these recordings:

 





Live! at the Star-Club in Hamburg, Germany; 1962 is a double album featuring live performances by the English rock band the Beatles, recorded in late December 1962 at the Star-Club during their final Hamburg residency. The album was released in 1977 in two different versions, comprising a total of 30 songs by the Beatles.

The performances were recorded on a home tape machine using a single microphone, resulting in a low fidelity recording. Ted "Kingsize" Taylor began to investigate possible marketing of the tapes in 1973. The tapes were eventually bought by Paul Murphy and subjected to extensive audio processing to improve the sound, leading to the 1977 album.

Although the poor sound quality limits its commercial appeal, the album provides historic insight into the group's club act in the period after Ringo Starr joined but before the emergence of Beatlemania. The Beatles were unsuccessful in legally blocking the initial release of the album; the recordings were reissued in many forms until 1998, when the group were awarded full rights to the performances.



Background


The Beatles' five residencies in Hamburg during 1960 to 1962 allowed the Liverpool band to develop their performance skills and widen their reputation. Drummer Pete Best was added to the band in August 1960 to secure their first Hamburg booking, where they played for 48 nights at the Indra Club and then 58 nights at the Kaiserkeller. The Beatles returned to Hamburg in April 1961 to play at the Top Ten Club for three months.[2]

A new Hamburg music venue, the Star-Club, opened on 13 April 1962, with The Beatles booked for the first seven weeks. The Beatles returned to Hamburg in November and December 1962 for their fourth and fifth engagements there, which had been booked for the Star-Club many months in advance. Unlike their previous three trips to Hamburg, their drummer was Starr, having replaced Best in August. The Beatles were reluctant to return for their final two-week booking, which started 18 December, as they were gaining popularity in Britain and had just achieved their first charted single with "Love Me Do".[3]
Recording

Portions of The Beatles' final Star-Club performances (along with other acts) were recorded by the club's stage manager, Adrian Barber, for Ted "Kingsize" Taylor.[4] Barber used a Grundig home reel-to-reel recorder at a tape speed of 3¾ inches per second, with a single microphone placed in front of the stage.[5] Taylor, leader of The Dominoes (who were also playing at the club), said that John Lennon verbally agreed to the group being recorded in exchange for Taylor providing the beer during their performances.[4]

The tapes were originally described as having been recorded in the spring of 1962, an attempt to pre-date The Beatles' June 1962 contract signing with Parlophone.[6] However, song arrangements and dialogue from the tapes pointed to late December 1962,[7] and a recording date of 31 December 1962 (the group's last day in Hamburg) was commonly cited.[8] Later researchers have proposed that the tapes are from multiple days during the last week of December;[9] Allan Williams (The Beatles' booking agent at the time) recalled that a total of about three hours was recorded over three or four sessions between Christmas and New Year's Day.[4]
    

The tapes captured The Beatles performing at least 33 different titles, plus some repeated songs.[10] Of the 30 songs that were commercially released from the tapes, only two were Lennon–McCartney compositions. The others were an assortment of cover versions, 17 of which would be re-made by The Beatles and appear on their various studio albums or Live at the BBC.[7] The arrangements played at the Star-Club are similar to the versions recorded later, albeit less refined, although there are a few cases with distinct differences. For example, "Mr. Moonlight" has a much quicker tempo, a guitar-based instrumental break, and an intentionally altered lyric with Lennon proclaiming he is on his "nose" instead of his "knees"; "Roll Over Beethoven" was described as "never taken at a more breakneck pace".[7]

The recording equipment and method resulted in the tapes being unmistakably low fidelity. The vocals, even in the best cases, sound "somewhat muffled and distant".[7] The vocals on a few songs are so indistinct that labelling and liner notes on early releases gave incorrect information about who was singing and the exact song being performed. Much of The Beatles' dialogue between songs is audible, which includes addressing the audience in both English and German, as well as repartee among themselves. The banter is irreverent and coarse at times, an aspect of their stage act that would soon cease under the influence of manager Brian Epstein.[10]
Marketing attempts

Taylor said he had offered to sell the tapes to Epstein in the mid-1960s, but that Epstein did not consider them to be of commercial value and offered only £20. Taylor said he kept the tapes at home, largely forgotten until 1973 when he decided to look into their marketability.[11] Williams related a different history than Taylor, stating that after Taylor returned to Liverpool, he left the tapes with a recording engineer for editing into a potential album. The project was never finished and the engineer later relocated, with the tapes being among many items left behind. In 1972, Williams, Taylor, and the engineer gained access to the abandoned office and recovered the tapes "from beneath a pile of rubble on the floor."[12]

When the existence of the tapes was first publicly reported in July 1973, Williams was planning to ask Apple for at least £100,000.[13] Williams said he later met with George Harrison and Starr to offer the tapes for £5,000, but they declined, citing financial difficulties at the time.[14] Williams and Taylor teamed up with Paul Murphy, head of Buk Records, to find an outlet for the tapes.[15]
Release

Murphy eventually bought the tapes himself and formed a new company, Lingasong, specifically for the project.[15] He sold the worldwide distribution rights to Double H Licensing, which spent more than $100,000 on elaborate audio processing and mixing of the songs under the direction of Larry Grossberg.[5] The sequence of songs was rearranged, and some of the individual songs were edited to bypass flawed tape sections or make up for an incomplete recording.[7]

After an unsuccessful attempt by The Beatles to block it, the 26-song Live! at the Star-Club in Hamburg, Germany; 1962 was released by Lingasong.[6] The album first appeared in West Germany in April 1977 in association with Bellaphon Records, and was released in the UK the following month.[16] For the album's June 1977 US release (in association with Atlantic Records), four songs were removed and replaced with four different songs from the tapes.[17]
Reissues

Over the next two decades, the recordings were licensed to several record companies, resulting in numerous releases with varying track selections. In 1979, Pickwick Records performed some additional audio filtering and equalisation of the songs on the Lingasong US version, and released it over two volumes as First Live Recordings; the set included the song "Hully Gully" that was mistakenly credited to The Beatles,[18] but was actually performed by Cliff Bennett and the Rebel Rousers, another act on the Star-Club bill.[19] In 1981, Audio Fidelity Enterprises released Historic Sessions in the UK, the first single package with all 30 Beatles tracks from the original Star-Club releases.[20] Several additional songs from the Star-Club tapes have appeared on Beatles bootleg records over the years.[10]

In 1985, a bootlegger known as "Richard", who had already found infamy by issuing several titles with controversial covers and content, issued his own bootleg version of the Star Club tapes without any of the editing found on the official releases, entitled The Beatles vs. the Third Reich—directly parodying The Beatles vs. the Four Seasons in both name and cover.[21]

The release of the recordings on two CDs by industry giant Sony Music in 1991 sparked renewed legal attention by The Beatles (as represented by Paul McCartney, Harrison, Starr, and Yoko Ono).[22] Sony also produced a version specifically for their Columbia House music club, but Sony withdrew the titles in 1992 as a lawsuit was progressing. Lingasong's CD release of the original set prompted another lawsuit from The Beatles in 1996; the case was decided in 1998 in favor of The Beatles, who were granted ownership of the tapes and exclusive rights to their use. Harrison appeared in person to provide evidence in the case, and his testimony was cited as an important factor in the judge's decision. Harrison characterised the claim that Lennon gave Taylor permission for the recording as "a load of rubbish", and added: "One drunken person recording another bunch of drunks does not constitute business deals."[23]

Reception
Professional ratingsReview scores
Source    Rating
AllMusic    2/5 stars[24]
Christgau's Record Guide    B–[25]
Encyclopedia of Popular Music    2/5 stars[26]
The Rolling Stone Album Guide    2/5 stars[27]

The album had limited commercial success, reaching a peak position of No. 111 during a seven-week run on the US Billboard 200 album chart.[28] Assessments of the album often weigh the poor sound quality against the historic importance and insight provided into The Beatles' early stage act. Rolling Stone reviewer John Swenson called the album "poorly recorded but fascinating" and commented that it showed The Beatles as "raw but extremely powerful."[29] Allmusic, commenting on a reissue, wrote: "The results were very low-fidelity, and despite The Beatles' enormous success, it took Taylor fifteen years to find someone greedy and shameless enough to release them as a record".[30] Q magazine described the recordings as having "certain historical interest" and remarked: "The show seems like a riot but the sound itself is terrible – like one hell of a great party going on next door."[31] George Harrison gave the assessment: "The Star-Club recording was the crummiest recording ever made in our name!"[32]
Track listing
Germany/UK version

(Bellaphon BLS5560/Lingasong LNL1)[33][34][35]

Side one

    Introduction/"I Saw Her Standing There" (John Lennon, Paul McCartney) – 0:34/2:22
    "Roll Over Beethoven" (Chuck Berry) – 2:15
    "Hippy Hippy Shake" (Chan Romero) – 1:42
    "Sweet Little Sixteen" (Berry) – 2:45
    "Lend Me Your Comb" (Kay Twomey, Fred Wise, Ben Weisman) – 1:44
    "Your Feet's Too Big" (Ada Benson, Fred Fisher) – 2:18

Side two

    "Twist and Shout" (Phil Medley, Bert Russell) – 2:03
    "Mr. Moonlight" (Roy Lee Johnson) – 2:06
    "A Taste of Honey" (Bobby Scott, Ric Marlow) – 1:45
    "Bésame Mucho" (Consuelo Velázquez, Sunny Skylar) – 2:36
    "Reminiscing" (King Curtis) – 1:41
    "Kansas City/Hey, Hey, Hey, Hey" (Jerry Leiber, Mike Stoller, Richard Penniman) – 2:09

Side three

    "Nothin' Shakin' (But the Leaves on the Trees)" (Eddie Fontaine, Cirino Colacrai, Diane Lampert, John Gluck) – 1:15
    "To Know Her Is to Love Her" (Phil Spector) – 3:02
    "Little Queenie" (Berry) – 3:51
    "Falling in Love Again (Can't Help It)" (Frederick Hollander, Sammy Lerner) – 1:57
    "Ask Me Why" (Lennon, McCartney) – 2:26
    "Be-Bop-A-Lula" (Gene Vincent, Bill Davis) – 2:29
        Guest lead vocal by Fred Fascher, Star-Club waiter[36]
    "Hallelujah I Love Her So" (Ray Charles) – 2:10
        Guest lead vocal by Horst Fascher, Star-Club manager[36]

Side four

    "Red Sails in the Sunset" (Jimmy Kennedy, Hugh Williams) – 2:00
    "Everybody's Trying to Be My Baby" (Carl Perkins) – 2:25
    "Matchbox" (Carl Perkins) – 2:35
    "I'm Talking About You" (Berry) – 1:48
    "Shimmy Like Kate" (Armand Piron, Fred Smith, Cliff Goldsmith) – 2:17
        Based on The Olympics' arrangement of "I Wish I Could Shimmy Like My Sister Kate";[32] sometimes misidentified as "Shimmy Shimmy" or "Shimmy Shake"
    "Long Tall Sally" (Enotris Johnson, Robert Blackwell, Penniman) – 1:45
    "I Remember You" (Johnny Mercer, Victor Schertzinger) – 1:54

US version

(Lingasong/Atlantic LS-2-7001)[37]

The US version includes the above except "I Saw Her Standing There", "Twist and Shout", "Reminiscing", and "Ask Me Why", and substitutes the following four songs:

    Introduction/"I'm Gonna Sit Right Down and Cry (Over You)" (Joe Thomas, Howard Biggs) – 3:04
    "Where Have You Been (All My Life)" (Barry Mann, Cynthia Weil) – 1:55
    "Till There Was You" (Meredith Willson) – 1:59
    "Sheila" (Tommy Roe) – 1:56

Source: https://en.wikipedia.org/wiki/Live!_at_the_Star-Club_in_Hamburg,_Germany;_1962



































Beatles Now & Then - Unreleased Anthology Song

 



"Now and Then" (sometimes referred to as "I Don't Want to Lose You" or "Miss You"[1]) is an unfinished song by John Lennon, recorded in 1978 as a solo piano/vocal demo. After his death, it was considered as a third possible reunion single by his former band, the Beatles, for their 1995 autobiographical project The Beatles Anthology, following "Free as a Bird" and "Real Love". This version remains unreleased.

Composition

Lennon wrote "Now and Then" in the late 1970s. He recorded the unfinished piece of music in a demo form at his home at the Dakota Building, New York City, 1978. The lyrics are typical of the apologetic love songs that Lennon wrote in the latter half of his career. For the most part the verses are nearly complete, though there are still a few lines that Lennon did not flesh out on the demo tape performance.[citation needed]

The Beatles' version

In January 1994, Paul McCartney was given two tape cassettes by Lennon's widow Yoko Ono that included home recordings of songs Lennon never completed or released commercially. The songs on one of the tapes included the eventually completed and released "Free as a Bird" and "Real Love". The two other songs on the other tape were "Grow Old With Me" and "Now and Then".[1] In March 1995, the three surviving Beatles began work on "Now and Then" by recording a rough backing track that was to be used as an overdub. However, after only two days of recording, all work on the song ceased and plans for a third reunion single were scrapped permanently.[citation needed]

Producer Jeff Lynne reported that sessions for "Now and Then" consisted only of "one day—one afternoon, really — messing with it. The song had a chorus but is almost totally lacking in verses. We did the backing track, a rough go that we really didn't finish."[2] An additional factor behind scrapping the song was a technical defect in the original recording. As with "Real Love", a 60-cycle mains hum can be heard throughout Lennon's demo recording. However, it was noticeably louder on '"Now and Then", making it much harder to remove.[citation needed]

The project was largely shelved due to Harrison's dislike of the song. McCartney later stated that Harrison called Lennon's demo recording "fucking rubbish."[3] McCartney told Q Magazine in 1997 that "George didn't like it. The Beatles being a democracy, we didn't do it."[4] An unnamed participant in the sessions told the Daily Express: "George just didn’t want to rework it because it’s not a matter of putting some vocals, or a bit of bass and drums to finish it. With this, you have to really build the song."[2]

Bootlegs and reports

Throughout 2005 and 2006, press reports speculated that McCartney and Starr would release a complete version of the song in the future. On 29 April 2007, the Daily Express reported that the song might be released to coincide with the Beatles catalogue being released for the first time via digital download.[2] Additional reports circulated that same year[5] that McCartney was hoping to complete the song as a "Lennon–McCartney composition" by writing new verses, laying down a new drum track recorded by Ringo Starr,[6] and utilising archival recordings of Harrison's guitar work.

The only (official) available recording of the song is Lennon's original demo. In February 2009, the same version of Lennon's recording was released on a bootleg CD, taken from a different source, with none of the "buzz" which hampered the Beatles recording of the song in 1995. The overdubs added in 1995 by the other surviving members have yet to surface.[citation needed]

During a Jeff Lynne documentary shown on BBC Four in 2012, Paul McCartney stated about the song: "And there was another one that we started working on, but George went off it...that one's still lingering around, so I'm going to nick in with Jeff and do it. Finish it, one of these days."[7]

Source: https://en.wikipedia.org/wiki/Now_and_Then_(John_Lennon_song)

January 01, 2022

Beatles Purple Chic Deluxe Editions

 Purple Chick Deluxe Editions (19 Albums, 63 Cd's)


Purple Chick, holy word for any collector of the band, a collection so large and neat that words are scarce to describe it.
Before defining what Purple Chick is, we should define what a bootleg is. A bootleg is, at its core, a non-canonical edition of some kind of audio. Something that is not usually achieved. "A rarity." This ranges from concerts, to failed shots, recordings, different mixes, interviews, unreleased songs and everything that leads to saying "look what I have". Like any collection, there are things that are easier and more difficult to achieve.
It wouldn't surprise me if we're talking about the band with the most pirated recordings, which is easy to deduce considering that it must be the most popular band in history and the one that caused the most stir with its appearance. For this very reason, the Beatle bootleg environment is absolutely immense. From '57 to '70 there are countless recordings going around. BootlegZone counts almost more than 6000 different disks.

Basically, Purple Chick is a huge collection of records that has everything you could ask for. The basics, the rare, the hardest to get, EVERYTHING. You can do the exercise of browsing BootlegZone and checking track by track, surely 95% of them are in Purple Chick. (Source:  http://colectivobeatle.blogspot.com/ )


The PurpleChick Discography consists of the following albums:


2003 - Meet The Threetles

2006 - Please Please Me Deluxe (Cd 1)
2006 - Please Please Me Deluxe (Cd 2)

2006 - With The Beatles Deluxe (Cd 1)
2006 - With The Beatles Deluxe (Cd 2)
2006 - With The Beatles Deluxe (Cd 3)

2007 - A Hard Day's Night Deluxe Edition (Cd 1 - Stereo)
2007 - A Hard Day's Night Deluxe Edition (Cd 2 - Mono)
2007 - A Hard Day's Night Deluxe Edition (Cd 3 - Sessions)

2007 - Abbey Road Deluxe (Cd 1 - Stereo)
2007 - Abbey Road Deluxe (Cd 2 - Mono)
2007 - Abbey Road Deluxe (Cd 3 - Mixes)

2007 - Beatles For Sale Deluxe (Cd 1 - Stereo)
2007 - Beatles For Sale Deluxe (Cd 2 - Mono)
2007 - Beatles For Sale Deluxe (Cd 3 - Sessions)

2007 - From Then To You Deluxe Edition

2007 - Help Deluxe (Cd 1 - Stereo)
2007 - Help Deluxe (Cd 2 - Mono)
2007 - Help Deluxe (Cd 3 - Sessions)

2007 - Let It Be Deluxe (Cd 1 - Stereo)
2007 - Let It Be Deluxe (Cd 2 - Mono)
2007 - Let It Be Deluxe (Cd 3 - Acetates 1)
2007 - Let It Be Deluxe (Cd 4 - Acetates 2)
2007 - Let It Be Deluxe (Cd 5 - Sessions)
2007 - Let It Be Deluxe (Cd 6 - Mixes)

2007 - Live At The Hollywood Bowl Deluxe Edition (Cd 1)
2007 - Live At The Hollywood Bowl Deluxe Edition (Cd 2)

2007 - Magical Mystery Tour Deluxe (Cd 1 - Stereo)
2007 - Magical Mystery Tour Deluxe (Cd 2 - Mono)
2007 - Magical Mystery Tour Deluxe (Cd 3 - Session 1)
2007 - Magical Mystery Tour Deluxe (Cd 4 - Session 2)

2007 - Magical Mystery Year Deluxe (Cd 1 - Stereo)
2007 - Magical Mystery Year Deluxe (Cd 2 - Mono)
2007 - Magical Mystery Year Deluxe (Cd 3 - Sessions)
2007 - Magical Mystery Year Deluxe (Cd 4 - Sessions)

2007 - Revolver Deluxe (Cd 1 - Stereo)
2007 - Revolver Deluxe (Cd 2 - Mono)
2007 - Revolver Deluxe (Cd 3)

2007 - Rubber Soul Deluxe (Cd 1 - Stereo)
2007 - Rubber Soul Deluxe (Cd 2 - Mono)
2007 - Rubber Soul Deluxe (Cd 3 - Sessions)

2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 1 - Stereo)
2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 2 - Mono)
2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 3 - Sessions 1)
2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 4 - Sessions 2)
2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 5 - Mixes)
2007 - Sgt. Pepper's Lonely Hearts Club Band Deluxe (Cd 6 - Multitracks)

2007 - The Quarrymen - Strong Before Our Birth (Cd 1)
2007 - The Quarrymen - Strong Before Our Birth (Cd 2)

2007 - The Songs The Beatles Gave Away
 
2007 - White Album Deluxe (Cd 1 - Stereo)
2007 - White Album Deluxe (Cd 2 - Stereo)
2007 - White Album Deluxe (Cd 3 - Mono)
2007 - White Album Deluxe (Cd 4 - Mono)
2007 - White Album Deluxe (Cd 5 - Demos)
2007 - White Album Deluxe (Cd 6 - Sessions 1)
2007 - White Album Deluxe (Cd 7 - Sessions 2)
2007 - White Album Deluxe (Cd 8 - Sessions 3)
2007 - White Album Deluxe (Cd 9 - The Beatles Go Too Far)
2007 - White Album Deluxe (Cd 10 - The Beatles Go Too Far)
2007 - White Album Deluxe (Cd 11- WhiteCasts)
2007 - White Album Deluxe (Cd 12- WhiteCasts)

2013 - I Hope We Passed The Audition

Source: https://superdiscografiathebeatles-blogspot-com.translate.goog/2020/11/purple-chick-deluxe-editions-19-albums.html?_x_tr_sch=http&_x_tr_sl=es&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Beatles Unsurpassed Masters Series

Overview: First appearing in 1990, Yellow Dog’s CD series “Unsurpassed Masters” was manna for Beatles collectors old, new & future. Near master tape quality & sounding much, much better than the Parlophone / Capitol official CDs on the market & one of the best places to hear ( at the time ) officially unreleased tracks for the Beatles cannon. Allegedly correlated from tapes once owned by British DJ Roger Scott from EMI tape archivist Roger Barrett & firstly partly bootlegged by Swingin’ Pig Records from Germany, Yellow Dog, another European label & one that had been producing high quality vinyl Beatlegs for a number of years, managed to serve up a glut of tapes & joined the CD revolution. Where as many earlier Beatlegs were BBC sessions marketed as the same or, shorn of their chatter & interviews, released as “Unreleased Studio Sessions” these were the real things. The initial issue of his CD was fraught with problems – released in the U.S. on two different labels ( possibly to deflect customs from picking up on a lead on one particular label ) as Yellow Dog on the East Coast & Sphinx in the West, the CDs were mastered with one channel wiped out so while the tracks could be heard through both speakers then, for instance, the vocal track may have been eliminated but the musical track would be heard intact but in mono making these expensive karaoke disks at best ( a theme Yellow Dog would later come back to on their Beatles & Rolling Stones “Karaoke” CD which may have been one of their worst ideas but when dealing with a Beatles market money is king & anything should have been tried once .. ) this was later rectified & the CDs were re – issued in full, dynamic stereo again in their pseudonyms over each coast. A collection of various studio takes comprising edit pieces, different tracks & remakes from the original versions.

While once it may have been the top of it’s field then many more upgrades have come along & surpassed this ‘Unsurpassed Master’ but i intend this review to be a track by track analysis of this classic bootleg & one that paved the way for the bulk of the better Beatlegs that can be found today. Source: https://classicrockreview.wordpress.com/category/the-beatles-unsurpassed-masters-vol-1/

Wiki: 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.


Unsurpassed Masters vol. 1




The first in the most recognized series of Beatles bootlegs ever, Unsurpassed Masters vol. 1 was mastered incorrectly in its first run and the stereo and cues were wrong. Tracks are from 1962-1963 recording sessions.

  1. Besame Mucho
    Features Pete Best on drums, from their first Abbey Road recording sessions. Unknown take recorded on June 6, 1962.
  2. How Do You Do It
    Take 2 recorded on September 4, 1962
  3. There’s A Place
    Takes 5 and 6, both false starts, recorded on February 11, 1963
  4. I Saw Her Standing There
    Takes 6-9 recorded on February 11, 1963
  5. Do You Want To Know A Secret
    Take 8 recorded on February 11, 1963
  6. A Taste Of Honey
    Take 6, featuring a vocal overdub on take 5, recorded on February 11, 1963
  7. There’s A Place
    Takes 12 and 13 recorded on February 11, 1963
  8. I Saw Her Standing There
    Takes 11 and 12, featuring handclapping overdubbed onto take 9, recorded on February 11, 1963
  9. Misery
    Takes 2-6 recorded on February 11, 1963
  10. From Me To You
    Takes 1 and 2 recorded on March 5, 1963
  11. From Me To You
    Takes 8-13 featuring some edit piece overdubs, recorded on March 5, 1963
  12. Thank You Girl
    Takes 2-4 recorded on March 5, 1963
  13. Thank You Girl
    Takes 7-13 featuring some drum overdubs, recorded on March 5, 1963
  14. One After 909
    Reversed stereo takes 1 and 2, recorded on September 11, 1963
  15. Hold Me Tight
    Takes 22-24, recorded on September 12, 1963
  16. Don’t Bother Me
    Takes 11-13 featuring some harmonica overdubs onto take 10, recorded on September 12, 1963

Release history

  • Yellow Dog YD001

    You can listen to this collection here:
    https://archive.org/details/beatlesunsurpassedmasters1

Unsurpassed Masters vol. 2




Demo, outtake, and remix recordings from the prolific 1964-1965 sessions, featuring 3 songs recorded for Rubber Soul but unissued.

  1. A Hard Day’s Night
    Takes 6 and 7 recorded on April 16, 1964
  2. Leave My Kitten Alone
    Take 5 recorded on August 14, 1964
  3. She’s A Woman
    Take 7 with an extended jam session, recorded on October 8, 1964
  4. I Feel Fine
    Stereo reversed takes 6 and 7 recorded on October 18, 1964
  5. Yes It Is
    Stereo reversed takes 1 and 2 recorded on February 16, 1965
  6. If You’ve Got Trouble
    Stereo reversed, unedited take 1 mix, recorded February 18, 1965
  7. That Means A Lot
    Take 1 recorded on February 20, 1965
  8. Help!
    Stereo reversed takes 1, 2,and 5 recorded on April 13, 1965
  9. Norwegian Wood (This Bird Has Flown)
    Take 1 recorded on October 12, 1965
  10. Day Tripper
    Takes 1-3 recorded on October 16, 1965
  11. We Can Work It Out
    Takes 1 and 2 recorded on October 20, 1965
  12. 12-Bar Original
    Take 2 recorded on November 4, 1965
  13. I’m Looking Through You
    Take 1 with no chorus and all instruments and vocals on a single track, recorded on October 24, 1965

Release history

  • Yellow Dog YD002

    You can listen to this collection here:
    https://archive.org/details/beatlesunsurpassedmasters2

Unsurpassed Masters vol. 3




Featuring a cover photo from the ‘Our World’ broadcast, Vol. 3 features demos, outtakes, and rarities from 1966 and 1967.

  1. Paperback Writer
    Take one with no vocals (and a slide guitar solo where the vocals should be) which breaks down after the first verse, recorded on April 13, 1966, couple with take 2 featuring incomplete vocals.
  2. Rain
    Mostly instrumental take 7, recorded on April 14, 1966.
  3. Tomorrow Never Knows
    Listed incorrectly in the linear notes as “Mark 1”, but is just a poorly transcribed take 3. Recorded on April 6, 1966.
  4. Strawberry Fields Forever
    Stereo mix of take 1 recorded on November 24, 1966.
  5. Strawberry Fields Forever
    Takes 2-4, showing the evolution from light to rough as used on the eventual master, recorded on November 28, 1966.
  6. Strawberry Fields Forever
    Takes 5-7, recorded on November 29, 1966.
  7. Strawberry Fields Forever
    Remix of take 25, featuring an orchestral overdub, some ‘cranberry sauce’ chatter, and a drum solo onto a mix of takes 15 and 24, recorded on December 9, 1966.
  8. Strawberry Fields Forever
    Take 26 featuring further overdubs onto take 25, recorded on December 15, 1966.
  9. A Day In The Life
    Three failed remixes of takes 4 (a reduction mixed into takes 5, 6, and 7) and takes 5-7. Recorded on January 20, 1967.
  10. All You Need Is Love
    Takes 57 and 58 from the ‘Our World’ broadcast with some studion chatter by Mal Evans and audience noise. Recorded on June 25, 1967.
  11. I Am The Walrus
    Take 9, a stripped down take recorded days after Brian Epstein’s death. Monitor mix recorded on September 5, 1967.
  12. Aerial Tour Instrumental
    Take 8 and remix 4; and alternate mix of ‘Flying’. Recorded on September 8, 1967.
  13. Hello Hello
    Take 1 of “Hello Goodbye” introduced as “Hello Hello” by Geoff Emerick. Complete take with no vocal or guitar overdubs, recorded on October 2, 1967.


Release history

  • Yellow Dog YD003

    You can listen to this collection here:
    https://archive.org/details/beatlesusurpassedmasters1

Unsurpassed Masters vol. 4




Focuses on recordings from 1968, encompassing demos, outtakes, and unreleased versions and entire songs recorded during the White Album sessions as well as versions of several successful singles.

  1. Lady Madonna
    A comedy routine preceding take 3, take 3, and take 5, recorded on February 3 and 5, 1968.
  2. Across The Universe
    Take 8, remix 2, known as the “Hum’s Wild” mix. Recorded and remixed just before their trip to India, on February 4-8, 1968.
  3. Brian Epstein Blues
    A studio outtake by John with some lyrics about Epstein, shortly after his death. Recorded on July 19, 1968.
  4. Hey Jude/Las Vegas Tune
    Take 7, recorded without George presumably due to some comments made by Paul. Features some mocking vocals by John and some studio chatter. The take ends and Paul starts singing a ditty known as “Las Vegas Tune”. Recorded on July 30, 1968.
  5. St. Louis Blues
    A version of the short song also known as “I Hate To See”, recorded on July 30, 1968.
  6. Back In The USSR
    From the ‘Peter Sellers Tapes’, take 6, remix 1 with a longer jet intro, recorded on August 23, 1968.
  7. Rocky Raccoon
    From the ‘Peter Sellers Tapes’, take 10, remix 1, recorded on August 15, 1968.
  8. Wild Honey Pie
    From the ‘Peter Sellers Tapes’, take 1, remix 6, recorded on August 20, 1968.
  9. Mother Nature’s Son
    From the ‘Peter Sellers Tapes’, take 26, remix 8, recorded on August 9, 1968.
  10. Sexy Sadie
    From the ‘Peter Sellers Tapes’, take 117, remix 5 with an unedited instrumental coda, recorded on August 21, 1968.
  11. Don’t Pass Me By
    From the ‘Peter Sellers Tapes’, take 7, unknown remix featuring an additional verse and instrumental, recorded on July 12 and 22, 1968.
  12. Yer Blues
    From the ‘Peter Sellers Tapes’, take 16 and 17 with remix 3 and an edit piece, recorded on August 14, 1968. First song on second side of ‘Sellers’ tape, so there is some drop outs.
  13. Good Night
    From the ‘Peter Sellers Tapes’, take 34, remix 6, recorded on July 22, 1968.
  14. Everybody’s Got Something To Hide Except Me And My Monkey
    From the ‘Peter Sellers Tapes’, take 12, remix 1 with some extra unedited vocals and sound effects, recorded on July 23, 1968.
  15. Ob-La-Di, Ob-La-Da
    From the ‘Peter Sellers Tapes’, take 23, remix 21 without the chirping birds sound effects, recorded on June 11, 1968.
  16. Blackbird
    From the ‘Peter Sellers Tapes’, take 32, remix 6, recorded on August 23, 1968.
  17. Not Guilty
    From the ‘Peter Sellers Tapes’, take 102, remix 1 (although Anthology notes that nowhere near that many takes were attempted), recorded on August 12, 1968.
  18. What’s The New Mary Jane
    Take 4 with overdubs – an incredibly unlistenable mix of sound effects and drug references that was dropped from the White Album in favor of “Revolution 9”. Recorded on August 14, 1968.

Release history

  • Yellow Dog YD004

    You can listen to this collection here:
    https://archive.org/details/beatlesunsurpassedmasters4

Unsurpassed Masters vol. 5





Vol. 5 features some supurb Abbey Road and Let It Be outtakes from 1969.

  1. Octopus’s Garden
    Take 32 recorded on April 26, 1969.
  2. Golden Slumbers/Carry That Weight
    Take 13 recorded on July 2, 1969.
  3. You Never Give Me Your Money
    Take 30 recorded on May 6, 1969.
  4. Oh! Darling
    Previously listed as take 26 from July 18, 1969, then as “unknown take” (although take 26 is probably the best guess). Paul’s voice gives out midway through the song. Recorded on April 26, 1969.
  5. Maxwell’s Silver Hammer
    Take 21 recorded on July 9, 1969.
  6. Something
    Take 37 (reduction mix) recorded on July 11, 1969.
  7. You Never Give Me Your Money/Sun King/Mean Mr. Mustard/Polythene Pam/She Came In Through The Bathroom Window
    The second remix of these songs, without orchestral, vocal, or solo overdubs. Also features “Her Majesty” between “Mean Mr. Mustard” and “Polythene Pam”. Recorded on July 24, 28, and 30, 1969.
  8. Golden Slumbers/Carry That Weight/The End
    Second remix (“The End” is marked as “Ending” and featured no vocals). Recorded on July 3 and 23, 1969.
  9. Her Majesty
    Take 3 recorded July 2, 1969.
  10. Stand By Me
    Recorded January 24, 1969, from the Get Back sessions
  11. I’ve Got A Feeling
    Recorded January 1969, from the Get Back sessions
  12. Two Of Us
    Recorded January 25, 1969, from the Get Back sessions
  13. For You Blue
    Recorded January 25, 1969, from the Get Back sessions
  14. Let It Be
    Recorded January 31, 1969, from the Get Back sessions

Release history

  • Yellow Dog YD005

    You can listen to this collection here:

Unsurpassed Masters vol. 6




More alternate takes, mixes, and demos from 1962-1970, some of which were originally mixed for the ill-fated Sessions project.

  1. There’s A Place
    A historic inclusion, as this is the first take of the first recording from their first session with EMI. Take 1 recorded on February 11, 1963.
  2. I Saw Her Standing There
    Take 2 and 3 recorded on February 11, 1963.
  3. From Me To You
    Take 6 and 7 recorded on February 11, 1963.
  4. Thank You Girl
    Take 1 recorded with some slight vocal variations and some rehearsing, recorded on March 5, 1963.
  5. Don’t Bother Me
    Take 10 recorded on September 12, 1963 with some studio chat by George.
  6. A Hard Day’s Night
    Take 3 recorded on April 16, 1964.
  7. I’m A Loser
    Take 1 and 2 recorded on August 14, 1964. Mostly just a rehearsal, as Paul is heard giving instruction to John and attempts some vocal options throughout take 2.
  8. She’s A Woman
    Take 2 recorded on October 8, 1964, with the songs mechanics still being worked out.
  9. If You’ve Got Trouble
    Take 1 recorded on February 18, 1965. A mono version of the Sessions mix.
  10. Help!
    Take 8 and 9, which was used as a basic track that the guitar and vocals were later dubbed onto. Recorded on April 13, 1965.
  11. Here, There, And Everywhere
    Take 14 recorded on June 16, 1966.
  12. I Am The Walrus
    Take 7 recorded on September 5, 1967.
  13. Ob-La-Di, Ob-La-Da
    The mix for Sessions, which fades out before the crossfade of “Christmas Time Is Here Again”.
  14. Hey Jude
    Takes 8 and 9, recorded on July 30, 1968.
  15. Not Guilty
    Mix for Sessions
  16. Let It Be
    Take 30 recorded on January 4, 1970.
  17. Because
    A capella overdubs recorded for take 16 on August 1 and 4, 1969.
  18. Mailman, Bring Me No More Blues
    Sessions mix
  19. What’s The New Mary Jane
    Sessions mix

Release history

  • Yellow Dog YD012

    You can listen to this collection here:
    https://archive.org/details/beatlesunsurpassedmasters5

Unsurpassed Masters vol. 7




Another career-spanning compilation, as is Vol. 6, of tracks from 1962-1970.

  1. Do You Want To Know A Secret
  2. Misery
    Take one without the piano overdub. Recorded February 11, 1963.
  3. One After 909
    Alternate edit of takes 4 and 5. Undocumented mono edit from same mix as Anthology version. Recorded March 5, 1963.
  4. Hold Me Tight
    Takes 25 and 26. Take 25 is incomplete, with some questioning by John, and take 26 is complete. Recorded September 12, 1963.
  5. Can’t Buy Me Love
    Recorded in Pathe Marconi Studios, Paris, on January 29, 1964.
  6. I’m A Loser
    Take 3 with some studio discussion as to the direction of the song (as well as some shushing by Ringo). Recorded on August 14, 1964.
  7. I Feel Fine
    A nearly complete take 5 recorded on October 18, 1964.
  8. Yes It Is
    Take 14 later used for vocal overdubs. Recorded on February 16, 1965.
  9. Norwegian Wood (This Bird Has Flown)
    Take 4 mono mix in right channel only. Recorded on Octobe 21, 1965.
  10. Penny Lane
    Take 9 – an alternate mix of the promo mix (mono). Recorded January 17, 1967.
  11. Lady Madonna
    Take 4 with some laughing at the beginning. Recorded February 6, 1968.
  12. Ob-La-Di, Ob-La-Da
    Outtake from take 5 recorded on July 5, 1968.
  13. Not Guilty
    Take 102 – a stereo, unedited mix recorded on August 12, 1968.
  14. Revolution
    A reduction or ‘bounce’ of take 15, switching to mono after the first couple of seconds. Recorded on July 10, 1968.
  15. While My Guitar Gently Weeps
    An acoustic take 1, stopping before some studio chat occurs by George. Recorded on July 25, 1968.
  16. Come And Get It
    Paul’s demo, the same as the Sessions version. Recorded July 24, 1969.
  17. ‘Beatle Speech’
    Although the track listing has this as “Think For Yourself”, many experts agree the title is “Beatle Speech”, as it is marked that way on the tape box which Mark Lewisohn used.

Release history

  • Yellow Dog YD013

    You can listen to this collection here:
    https://archive.org/details/beatlesunsurpassedmasters7



    Source: https://aboutthebeatles.com/unsurpassed-masters-series



    More information is available here:
    https://www.guitars101.com/threads/the-beatles-unsurpassed-masters-vol-1-7-remasters-workshop-stu-flac.214634/

Beatles Ultra Rare Trax Series

Overview: The Ultra Rare Trax series really was the start of Beatles Boots on CD and far improved quality from what was available on vinyl before. These discs were only around in short supplier with it's bright covers, this reissue was released in 1989 with a full colour sleeve of the same image. Other than that, these releases were identical to the first issue. Some of the material on these discs has remained core material and over a dozen years after it's release, they are still very pleasant discs to listen to. Unfortunately the discs are on the short side at less than 30 minutes in some cases.

It is a series of surprisingly high-fidelity bootlegs drawn from the Beatles' recording sessions. Heretofore, many of the unnamed compilers have been careful to construct highly playable compilation albums made up of fully developed alternate takes of Beatles songs ranging across their career. Others discs jump back and forth in time, from an April 1963 session for the BBC (all the other tracks come from recording sessions) to a July 1969. They contain some of the more ephemeral items from the Beatles' vault, but it is no less enjoyable for that, and, like the series as a whole, it served as inspiration for later legitimate releases. Source: www.allmusic.com

From Wiki: Ultra Rare Trax was a series of bootleg recordings of the Beatles, featuring studio outtakes, that first appeared in 1988.[1] It took advantage of a legal loophole known as the "protection gap" that allowed bootleggers to release old recordings due to ambiguous copyright laws.[2] In all, eight volumes were produced.[3] It was not the first Beatles bootleg to appear on compact disc but it was the first one to achieve widespread attention with bootleggers, because its sound quality showed what digital remastering was capable of.[4]

History
The bootleg appeared after John Barrett, an engineer at Abbey Road Studios, performed an audit of the material in the studio's archives in 1984 and made backups onto tape with the strict condition that they were not to be copied or sold. However, a Dutch collector managed to purchase some studio tapes for $20,000, which were subsequently resold to a German fan, Dieter Schubert. Schubert believed that any studio recordings made before Germany's ratification of the Rome Convention in 1966 were public domain in that country, and therefore decided to create his own bootleg label, Swingin' Pig, and released his titles on CD. The logo and name were based on the earlier Trademark of Quality bootleg label that regularly featured William Stout's artwork on its covers.[4]

One bootlegger claimed it to be "the single most important release in the history of CDs ... the quality just blew people's minds".[4] Author Clinton Heylin believes some tracks on the Ultra Rare Trax series sounded even better than the then recent CD reissues of official material from EMI.[5]

EMI Records, which held copyrights to the Beatles' studio recordings, was unhappy that somebody had effectively stolen work they held the rights to and released it. A representative was "mortified" to discover that the first volume of Ultra Rare Trax contained previously unreleased recordings of "I Saw Her Standing There" and "Strawberry Fields Forever", and the original 1963 recording of "One After 909" that was intended for Please Please Me. EMI representative Mike Heatly said in an interview with ICE Magazine that he had no idea how a bootlegger had managed to obtain such high-quality recordings.[5] The bootleg also convinced fans that there was far more unreleased material in the EMI vaults than was previously thought.[6]

Some of the material on the Ultra Rare Trax series was subsequently officially released on the Anthology series in the mid-1990s, though Michael Callucci, writing for Classic Rock magazine, claims the original bootlegs are still worth hearing as they contain material not on the official release.[3]

Ultra Rare Trax Vol. 1






 


I Saw Her Standing There
Recorded on Feb. 11th 1963 from “PLEASE PLEASE ME” session. Continued from warming up, they start a great live performance in the studio. John makes a mistake with some lyrics and Paul makes a mistake was some bass lines. No echo effects. Stereo version (take 2) taken directly from the master tapes.
One After 909
Recorded on March 5th 1963, from “FROM ME TO YOU” session. Composed by John Lennon in the late 50’s – early 60’s in the period of THE QUARRYMEN (pre-Beatles). Released on LET IT BE album in 1970, but this take is absolutely different. Stereo version (take 2) taken directly from the master tapes.
She’s A Woman
Recorded in Sept. – Oct. 1964. No lead guitar, piano, or additional overdubbed vocals. No fade-out at the end. Very primitive version. Stereo version (take 2) taken directly from the master tapes.
I’m Looking Through You
Recorded in Oct. 1965, from “RUBBER SOUL” session. No chorus made yet. Beginning with percussion, vocals on single track. No fade out at the end. Stereo version (take 1) taken directly from the master tapes.
If You’ve Got Troubles
Previously unreleased song. Recorded in Oct. 1965, from “RUBBER SOUL” session. Ringo Starr on lead vocals. Stereo version taken from an original acetate.
How Do You Do It?
Previously unreleased song by The Beatles. Recorded on Sept. 4th 1962, from “PLEASE PLEASE ME” session. Prepared as a second single, but never released. Mono version taken directly from the master tapes.
Penny Lane (Mono)
Recorded on Dec. 29th, 1966. Basically the same version as on “Rarities” album, but including dialogue, and Paul’s count in the beginning. Mono version taken directly from the master tapes.
Strawberry Fields Forever
There are two takes for STRAWBERRY FIELDS FOREVER. The previously released version consists of take A & B with controlled speed, and it is also remixed. This version on this disc it take II, with a different mix. Recorded in December 1966. Stereo versionz taken from an original acetate.
From Me To You
Recorded on March 4th-5th 1963, beginning with Paul’s count “1,2,3,4”, no harmonica. Stereo version taken directly from the master tapes.
Besame Mucho
Basically unreleased song. Recorded on June 6th, 1962, with Pete Best on Drums. A different take than “Decca Tapes”.
The Fool on the Hill
Recorded in Sept. 1967, Demo version. Paul performs solo with the piano. Stereo version taken from an original acetate.
Paperback Writer
Recorded in April 1966. Beginning with Paul’s count “1,2,3,4!” on the right channel. Same as the single, but different mix, no echo effects on vocals, and no fade-out at the end. Stereo version taken directly from the master tapes.
Release history
Swingin’ Pig TSP CD 001

You can listen to this collection here:

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax1

Ultra Rare Trax Vol. 2






 
Can’t Buy Me Love
Recorded on Jan. 29th 1964. Absolutely different with no echo and wonderful choral vocals by John & George. Paul makes mistakes on some lyrics. Stereo version taken directly from the master tapes.
There’s A Place
Recorded on Feb. 11th 1963, from “PLEASE PLEASE ME” session. Absolutely different with no harmonica or piano (take 3). Stereo version taken directly from the master tapes.
There’s A Place
Recorded on Feb. 11th 1963, from “PLEASE PLEASE ME” session. Absolutely different with no harmonica or piano (take 4). Stereo version taken directly from the master tapes.
That Means A Lot
Previously unreleased song; recorded in Feb. 1965, from 2nd “HELP!” session. Paul McCartney on lead vocals. Stereo version taken from an original acetate.
Day Tripper
Recorded on Oct. 16th 1965. Begins with instrumental without tambourine or lead guitar. Absolutely different, supposed to be the first basic. Not complete. Stereo version taken directly from the master tapes.
Day Tripper
Take 2 starts with Paul’s count “1,2,3,4”. Basically same version as the previously released one, but no additional vocals dubbed by Paul and no fade-out at the end. Stereo version taken directly from the master tapes.
I Am The Walrus
Recorded in Sept. 1967, from “MAGICAL MYSTERY TOUR” sessions. Un-edited long version without strings, bass guitar, choral, or side vocals. Mono version taken directly from the master tapes.
Misery
Recorded on Feb. 11th, 1963, from “PLEASE PLEASE ME” session. Absolutely different without piano or echo effects. Stereo version (take 1) taken directly from the master tapes.
Leave My Kitten Alone
Previously unreleased song; recorded on Aug. 5th 1964, from “FOR SALE” session. John Lennon on lead vocals. Mono version taken directly from the master tapes.
We Can Work It Out
Recorded on Oct. 20th 1965. Beginning with Paul’s count “1,2,3,4!” and has louder keyboards sound. Vocals on both channels with fade-out at the end. Stereo version taken from an original acetate.
A Hard Day’s Night
Recorded on April 16th, 1964, from “A HARD DAY’S NIGHT” sessions. Live performance in the studio. Absolutely different with acoustic or gat guitars, or piano. Stereo version taken directly from the master tapes.
Norwegian Wood
Recorded in Oct. 1965, from “RUBBER SOUL” sessions. Basically same as the released take, but with two false starts and John’s comment: “I showed ya!” at the end. Norman Smith replies, “Great, fine!” Un-edited version. Stereo version (take 4) taken directly from the master tapes.
Release history
Swingin’ Pig TSP CD 002

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax2

Ultra Rare Trax Vol. 3



 


Ob-La-Di-, Ob-La-Da
Tomorrow Never Knows
A Day in the Life
Yes It Is
I Saw Her Standing There
Norwegian Wood
Not Guilty
Across The Universe
While My Guitar Gently Weeps
Ticket To Ride
Release history
Swingin’ Pig TSP CD-025

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax3


Ultra Rare Trax Vol. 4





 
One After 909
A Taste Of Honey
I Feel Fine
Yer Blues
Blues Jam
Not Guilty
Get Back
Mailman Bring Me No More Blues
Do You Want To Know A Secret?
All You Need Is Love
Release history
Swingin’ Pig TSP-CD-026

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax4


Ultra Rare Trax Vol. 5



 
Christmas Time Is Here Again
Because
accepella version
Revolution
I Me Mine
Strawberry Fields Forever
Hey Jude
Magical Mystery Tour
What’s The New Mary Jane?
Lady Madonna
One After 909
Ob-La-Di, Ob-La-Da
Release history
Swingin’ Pig TSP CD 035

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax5

Ultra Rare Trax Vol. 6


 



Volume 6 in the Ultra Rare Trax series features material later released in better quality on Live At The BBC and Anthology. There are some gems though, such as “I Hate To See” and “Dig It”. The inside of the front cover features a mispelling of Ringo “Starrr”. Track notes are taken from the back of the CD.
Come And Get It
Previously unreleased song by the Beatles. Recorded on July 24, 1969 by Paul in just one hour (!) as a demo for Badfinger
Hold Me Tight
Recorded on September 12, 1963 during With The Beatles sessions. Different take to the previously released one.
I’ll Be On My Way
Previously unreleased song, recorded on April 1963 for the BBC.
Strawberry Fields Forever
Take 7, recorded on November 29, 1966. An overdubbed version of Take 6, again this is very interesting because completely differnt to the previosuly released ones. One of the finest Beatles songs, by the way.
It’s All Too Much
Recorded on May 25/26, 1967. Alternate version with extra verse.
12 Bar Original
Mislabeled “12 Bad Original”, later released on Anthology 2.Previosuly unreleased instrumental from the Rubber Soul sessions, recorded on November 4, 1965.
I Hate To See
Previously unreleased song, recorded sometime during “Hey Jude” session in July/August 1968.
She’s A Woman
Take 7, recorded on October 8, 1964. Extra long take, extended into a jam at the end.
What’s The New Mary Jane?
Early long mix of this previously unreleased song; recorded on August 14, 1968. Different to version on Ultra Rare Trax vol. 5!
Dig It
Recorded on January 1969. The longest known version of this song, lasting more than 8 minutes!
Release history
Swingin’ Pig TSP-CD-036

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax6

Ultra Rare Trax Vol. 7


 



Not part of the original Ultra Rare Trax series and issued by a different label.
I Saw Her Standing There
Recorded live in Stockholm at the Karlaplansstudio, Oct 24, 1963
Too Much Monkey Business
Recorded live in London Paris Stuudio (BBC), Apr 4, 1963
This Boy
Recorded live in Melbourne at the Festival Hall, Jun 16, 1964
If I Needed Someone
Recorded live in Tokyo at the Nippon Budokan Hall, Jun 30, 1966
She’s A Woman
Recorded live in London, Oct 3, 1964
I’m A Loser
Recorded live in London at the Odeon Cinema, Christmas Show 1964
Yesterday
Recorded live on the Ed Sullivan Show, New York, Aug 14, 1964
Crying, Waiting, Hoping
Recorded live at London Paris Studio (BBC), Jul 16, 1963
Everybody’s Trying To Be My Baby
Recorded live in Paris at the Palais des Sports, Jun 20, 1965
Shout
Recorded during “Around the Beatles” at Wembley Studios, London, Apr 28, 1964
Yer Blues
Recorded live at “The Rolling Stones Rock’n’Roll Circus” at Wembley, Dec 11, 1968. Features Eric Clapton and Keith Richards
Nowhere Man
Recorded live in Tokyo at the Nippon Budokan Hall, Jun 30, 1966
Anna (Go To Him)
Maida Vale Studios (BBC), Jun 17, 1963
Twist And Shout
Recorded live in Melbourne at the Festival Hall, Jun 16, 1964
Release history
The Genuine Pig – TGP-CD-111, released 1990

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax7

Ultra Rare Trax Vol. 8



 



Not part of the original Ultra Rare Trax series and issued by a different label.
Baby’s In Black
Recorded live in Stockholm at the Karlaplansstudio, Oct 24, 1963
You Really Got A Hold On Me
Recorded live in Stockholm at the Karlaplansstudio, Oct 24, 1963
The Fool On The Hill
Demo recorded by Paul, 1967
To Know Her Is To Love Her
Recorded live in London Paris Studio (BBC), Jul 16, 1963
A Hard Day’s Night
Recorded live in London at the Odeon Cinema, Christmas Show 1964
Day Tripper
Recorded live in Tokyo at the Nippon Budokan Hall, Jun 30, 1966
All You Need Is Love
Recorded live on the “Our World” TV Show, London, Jun 25, 1967
Till There Was You
Recorded live in Melbourne at the Festival Hall, Jun 16, 1964
And I Love Her
Recorded in the BBC Studio 52, Jul 14, 1964
Can’t Buy Me Love
Recorded live in Paris at the Palais des Sports, Jun 20, 1965
I Feel Fine
Recorded live in London at the Odeon Cinema, Christmas Show 1964
Hey Jude
Recorded live on the David Frost Show, 1968
Release history
The Genuine Pig – TGP-CD-112, released 1990

You can listen to this collection here:
https://archive.org/details/beatlesultrararetrax8

Source: https://aboutthebeatles.com/ultra-rare-trax-series