March 25, 2016

Giles Martin details the Beatles' remasters that make you 'feel closer to the band than you ever did before'

Posted November 11 2015 — 5:04 PM EST

The Beatles released 1+ last week, a new collection that, most notably, includes dozens of rare music videos the band recorded over the years. But tucked away behind the two Blu-ray discs is a revamped version of 1, the 2000 compilation that features all 27 of the Fab Four’s No. 1 hits. Don’t ignore that disc. When the team behind 1+decided to polish up the video clips, it decided to also remix the songs on 1 — and tapped Giles Martin, the son of esteemed Beatles producer George Martin, to head up the job.

“They still sound like the songs you love,” Martin tells EW. “It’s just that if you go back to the original, you should prefer what we’ve done. When you hear them you feel closer to the band than you ever did before.”

The motivation behind the project is mostly technological. As Martin began to assist with fixing up the audio tracks for the 1+ video clips, he realized that his goal of making them “more immersive” should also apply to 1. While modern remastering efforts — most recently the 2009 reissuing of the band’s entire catalog — cleaned up the audio, none truly optimized the recording for modern, high-definition sound systems.

“You have to understand, the original Beatles mixes were designed for mono playback,” Martin explains. “The stereos that we all know and love were done very, very quickly. The band was never present when the stereos were made.”

Martin’s mission was to pretend the Beatles were in the room with him and tailor 1’s iconic hits for cutting-edge stereos — no easy task when you know the audience for your work will likely examine it with a fine-toothed comb. “My approach was to be respectful of everything,” the producer says. “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.”

But honoring the past didn’t mean Martin refused to make necessary changes. Consider “Paperback Writer.” The band only recorded one and a half takes of the classic song — “I couldn’t believe it when I looked at the tapes,” Martin says — and the session’s spontaneity comes through on the recording. But Martin also heard a “layer of stuff” that’s not on the raw tapes. The problem mainly stemmed from an ill-conceived stereo mix he says was created just “for the sake of being stereo.” It isolated the band on one side, the bass on the other side, and the vocals in the center, even when the song “sounds better in our world coming out of two speakers.” By returning some of its elements to mono, Martin restored the “visceral feeling” that he thinks the band intended.

The fresh edition of 1 also improves the band’s famed recordings in ways the 2009 reissue project didn’t. “It’s vastly different,” Martin says. “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.”

That explains why Martin performed the same procedure on audio tracks from the Blu-ray discs that don’t appear on 1. He’s most proud of his work on “Strawberry Fields Forever,” which had much of its studio wizardry wiped away on previous stereo mixes. “It has this mellotron pulse that in the mono version goes under the vocal and sounds really cool,” Martin says. “It sounds much more intense to me, it sounds claustrophobic in a strange way. That’s what John would’ve wanted.” The original stereo mix isolated the mellotron pulse to the right-hand side, and couldn’t be repaired by the surface-level edits made in previous remastering projects.

“It has the feel of the mono, but it’s in stereo,” Martin says of the new version. “It sounds stronger, like it has a spine to it. Fans of the Beatles say you have to listen to the monos, but nobody’s going to do that. Only the fans are going to do that. I’m trying to create that attention to detail in a stereo format.”

But despite his studio efforts — which have created noticeable improvements on the originals — Martin understands that to a certain extent the endeavor is just icing on the cake. “The Beatles’ music makes people happy, and therefore it’s great to make sure it exists in the world. I don’t think these mixes change that in a big way, but you want to make sure you do the best job you can.”


March 23, 2016

"Beatles 1" To Be Re-Released with enhanced sound & music videos

The Beatles are to release a remixed edition of their bestselling "Beatles 1" singles collection and restored versions of their promotional films.

The Beatles - 1 CD/DVD edition artwork (2015)There will be a 27-track audio CD with new stereo mixes, as well as CD/DVD and CD/Blu-ray editions containing new stereo and 5.1 surround sound mixes, released on 6 November 2015. A two-disc, 180-gram vinyl edition will also follow.

A special deluxe edition, titled 1+, will contain a second bonus disc of 23 videos, containing alternative versions, rare videos and TV appearances. Four of the videos feature exclusive audio commentary or filmed introductions by Paul McCartney and Ringo Starr. The deluxe edition also includes a 124-page hardback book.

The deluxe edition gives a total of over 200 minutes of video content in 50 individual films (20 of which did not appear in The Beatles' Anthology.

The Beatles - 1+ CD/Blu-ray deluxe edition artwork (2015)

The promotional films were digitally restored from the original 35mm negatives scanned in 4K, with audio produced from the original analogue tapes by Giles Martin and Sam Okell at Abbey Road Studios. Jeff Lynne and engineer Steve Jay have reportedly remixed Free As A Bird and Real Love.

Here's the full press release:

All-New Editions of The Beatles 1 Pair Beautifully Restored Promotional Films and Videos with Brand New Stereo and Surround Audio Mixes

Beatles 1+ Deluxe Edition Celebrates the Sight & Sound of The Beatles in 50 Films & Videos
London – September 15, 2015

After The Beatles stopped touring, and because travelling around the globe to promote new releases was impossible, the band increasingly made what could be described as “mini movies”. These pioneering promotional films and videos helped to define the way we have come to watch music, not least because The Beatles approached filming with the same ease and innovative spirit they brought to the recording studio, exploring new creative possibilities with infectious delight. Showcasing the band's filmed work to accompany their 27 No.1, U.K. and U.S. singles, The Beatles 1 is newly restored and expanded in multiple configurations for global release on November 6 by Apple Corps Ltd/UMG.

The 27-track CD/DVD and CD/Blu-ray pairs beautifully restored videos for each song, with new stereo and 5.1 Dolby Digital and DTS HD surround audio mixes. The brand new Beatles 1+ celebrates their career in over 200 minutes through 50 promotional films and videos. This includes the 27 No.1s, with the restored videos, along with a second disc of 23 videos, including alternate versions, as well as rarely seen and newly restored films and videos; all include new audio mixes in deluxe CD/2-DVD and CD/2-Blu-ray packages. The 27-track audio CD is also being made available with new stereo mixes. A 2 LP, 180-gram vinyl package will follow.
The new editions of The Beatles 1 have been made possible following extensive research, and restoration of the original promo films, classic television appearances and other carefully selected videos spanning the band's history. Apple Corps dug deep into The Beatles' vaults to select a broad range of films and videos for their rarity, historical significance and quality of performance. An 18-person team of film and video technicians and restoration artists was assembled by Apple Corps to undertake painstaking frame-by-frame cleaning, colour-grading, digital enhancement and new edits that took months of dedicated, ‘round-the-clock work to accomplish.
The result is a visual run down of The Beatles' number one records, as well as the additional tracks on the bonus disc of Beatles 1+ that show the band in previously unseen standards of clarity and quality; many of the films and videos have never before been commercially released, in whole or in part.
Beatles 1 and Beatles 1+ offers the restored films, including 35mm negatives scanned in 4K and digitally restored with new stereo and 5.1 surround audio remixes, produced from the original analogue tapes by the GRAMMY® winning team of Giles Martin with Sam Okell at Abbey Road Studios. For four of the videos, Paul McCartney and Ringo Starr have provided exclusive audio commentary and filmed introductions, respectively. The 1+ Deluxe Edition, presented in an expanded 124-page illustrated hardcover book includes ‘an appreciation' of The Beatles' ground-breaking films and videos by music journalist and author Mark Ellen and extensive, detailed track/video annotation by music historian and author Richard Havers.
“These videos and films are spectacular reminders of the era we lived in. They also rock!”
Paul McCartney
“I think it's really interesting to see the videos we made, some of them incredible and some of them really incredible. How else would we have got to sit on a horse?”
Ringo Starr
Between 1962 and 1970, The Beatles released 27 No.1 hit singles in the U.S. and the U.K. In 2000, these timeless songs were collected for The Beatles 1, which topped the charts in 35 countries and became that decade's bestselling album worldwide. 15 years later, 1 is revisited for this entirely new, visually-inspired presentation.
It's The Beatles, as you've never seen them before.
The Beatles 1
[CD: DVD: CD+DVD: Blu-Ray: CD+Blu-Ray]
(DVD or Blu-ray)
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
Ticket To Ride
Day Tripper
We Can Work It Out
Paperback Writer
Yellow Submarine
Eleanor Rigby
Penny Lane
All You Need Is Love
Hello, Goodbye
Lady Madonna
Hey Jude
Get Back
The Ballad Of John And Yoko
Come Together
Let It Be
The Long And Winding Road
Paul McCartney audio commentary
Penny Lane
Hello, Goodbye
Hey Jude
Ringo Starr filmed introductions
Penny Lane
Hello, Goodbye
Hey Jude
Get Back
The Beatles 1+
CD/2-DVD: CD/2-Blu-ray]
(same as above)
DISC 2 VIDEO (DVD or Blu-Ray)
Twist And Shout
Baby It's You
Words Of Love
Please Please Me
I Feel Fine
Day Tripper *
Day Tripper *
We Can Work It Out *
Paperback Writer *
Rain *
Rain *
Strawberry Fields Forever
Within You Without You/Tomorrow Never Knows
A Day In The Life
Hello, Goodbye *
Hello, Goodbye *
Hey Bulldog
Hey Jude *
Get Back *
Don't Let Me Down
Free As A Bird
Real Love
Paul McCartney audio commentary
Strawberry Fields Forever
* alternate version
Newly edited clip, featuring material from BBC TV's The Mersey Sound, with performance footage filmed on 27 August 1963 at the Little Theatre, Southport.
A live performance at the 1963 Royal Variety Show, filmed at The Prince Of Wales Theatre, London, on 4 November 1963.
A live performance from the Swedish Television show Drop In, recorded on 30 October 1963 during a short Scandinavian tour.
From the Granada TV programme Late Scene Extra filmed on 25 November 1963.
First broadcast in the TV show Around The Beatles, filmed on 28 April 1964 and broadcast the following month. It features a different audio track to that of hit single, recorded by The Beatles on 19 April 1964.
Live performance at the Palais des Sports, Paris on 20 June 1965, while on a short European tour.
Filmed at Twickenham Film Studios on 23 November 1965. One of ten films shot that day to satisfy global TV demand for broadcast material to accompany The Beatles' hit records.
A brand new clip edited from material filmed at the Shea Stadium concert in New York City on 15 August 1965, during which the band performed twelve songs, but ‘Eight Days A Week' was not among them. The clip says so much about the band's frenetic lifestyle in 1965, at the height of Beatlemania.
Filmed at Twickenham Film Studios on 23 November 1965.
10. HELP!
The less frequently seen clip of those filmed at Twickenham Film Studios on 23 November 1965.
Paul performing on The Ed Sullivan Show, videotaped in New York City on 14 August 1965 and broadcast the following month, the day before the single was released in America.
Three versions of this clip were filmed at Twickenham Film Studios on 23 November 1965. This is version 2, in which all of the group are wearing polo neck sweaters, except for Paul, who wears a black shirt.
There were three versions of the ‘We Can Work It Out' video filmed atat Twickenham Film Studios on 23 November 1965. This is version 2 in which all four Beatles are wearing black polo neck sweaters.
Filmed in 35mm, and in colour, in Chiswick Park, West London, by director Michael Lindsay-Hogg.
This clip is newly created from original Yellow Submarine footage.
This clip is taken directly from the Yellow Submarine movie.
A ground-breaking clip by Swedish director Peter Goldmann that captures The Beatles in Stratford, London, and at Knole Park in Kent, with additional material shot in Liverpool.
Filmed in Studio One at Abbey Road, on 25 June 1967, and beamed around the globe as a part of the TV programme Our World. This colourised version was created for The Beatles Anthology TV programme in 1995.
London's Saville Theatre was the location for this promo film, shot on 10 November 1967; The Beatles wear their Sgt. Pepper outfits.
Just prior to leaving for India, The Beatles met up in Studio Three at Abbey Road, on 11 February 1968. They were filmed while recording ‘Hey Bulldog'.
Filmed at Twickenham Film Studios on 4 September, for broadcast on David Frost's TV show, Frost On Sunday. The introduction by David Frost is different from that on disc 2.
The promo clip made available at the time of the original release of the single featured performances from the Apple rooftop synched to the record. This new clip has been rebuilt to replicate the original but with improved picture quality.
This original promo clip features outtakes from the Let It Be movie, with other private footage shot in Amsterdam, London, Paris and Vienna.
The video features George and Pattie, John and Yoko, Paul and Linda, and Ringo and Maureen. and was filmed at locations in Berkshire, Surrey, and the Mull of Kintyre.
The clip was created in 2000 by Melon Dezign for the launch of and the original Beatles 1 album.
A 1970 promo clip was made available to support the release of the single and it was different to the one featured in the Let It Be movie; this clip has been rebuilt from the original footage.
This clip is taken straight from the Let It Be movie.
From the Granada Television programme Scene At 6.30, which was videotaped on 14 August 1963.
One of two clips used to promote the single taken from the 1995 Live At The BBC album. The clip is enhanced by the inclusion of unique colour footage of The Beatles filmed outside the BBC's Paris Studio on Lower Regent Street, London.
When On Air – Live At The BBC Volume 2 was released in 2013, it included ‘Words Of Love', a Buddy Holly composition that the band recorded for radio. This new clip is a mix of existing footage and innovative animation.
A live performance videotaped on 9 February for The Ed Sullivan Show, which was screened on 23 February 1964.
Filmed at Twickenham Film Studios on 23 November 1965, this clip shows The Beatles eating fish and chips during their lunch break.
From the TV special The Music Of Lennon & McCartney that first broadcast in mid-December 1965.
Filmed at Twickenham Film Studios on 23 November 1965, with the group wearing their Shea Stadium Jackets with the ‘Nehru' collars.
Filmed at Twickenham Film Studios on 23 November 1965 – showing The Beatles wearing the Shea Stadium jackets.
Shot on videotape at Abbey Road, on 19 May 1966, this studio version is prefaced by a short introduction by Ringo. It was broadcast on The Ed Sullivan Show in America.
10. RAIN
‘Rain', the B-side of ‘Paperback Writer', was filmed in colour at Chiswick House, West London, on 20 May 1966.
11. RAIN
This black and white clip is a new edit from several takes of ‘Rain' videotaped at Abbey Road on 19 May 1966.
Directed by Peter Goldmann and with newly restored footage, this was filmed at Knole Park, Kent on 30 and 31 January 1967.
The merging of these two tracks, one from Sgt Pepper's Lonely Hearts Club Band, the other from Revolver, was created for The Beatles Love show by Cirque du Soleil, which opened in June 2006 in Las Vegas. This video was created to promote the Love album released later that year.
Filmed in Studio One at Abbey Road on 10 February 1967, this includes classical musicians, who were asked to wear evening dress, fake noses and funny hats for the recording session.
This clip is another shot at London's Saville Theatre on 10 November 1967; The Beatles wear their ‘street clothes'.
This third version was also shot at London's Saville Theatre on 10 November 1967; it includes elements from the first two films but with additional footage unique to this edit.
The original footage from a 1968 shoot for the ‘Lady Madonna' promo film was unearthed in the mid-1990s. It was revealed that The Beatles were recording ‘Hey Bulldog' and is an edit done to promote the reissue of the Yellow Submarine movie in 1999.
This is an edit of the two other takes filmed on 4 September 1968 for the Frost On Sunday TV show. This has a different David Frost intro to the clip on disc 1.
One of two versions, this was shot the same day as ‘Hey Jude'. John's lead vocal is completely live, as are most of Paul and George's backing vocals. The instrumentation, including Nicky Hopkins' electric piano, is from the master tape.
This clip was assembled in 2003 to support the release of the album Let It Be…Naked and utilises studio footage from the famous Get Back/Let It Be sessions.
This was the B-side of ‘Get Back' and this clip is a composite of two live performances from the Apple rooftop in 1969. It was made available to support the release of Let It Be…Naked in 2003.
The 1995 video is a work of art by director Joe Pytka, who used the concept of a bird's-eye view to pay homage to many Beatles songs and images.
This video directed by Geoff Wonfor and ex-10cc and leading pop promo-maker Kevin Godley, this video was made in 1996 to support the release of the single.


March 19, 2016

McCartney trying to get back Beatle song copyrights to reclaim his 'babies'

Now that Sony has taken over the half of Sony/ATV that Michael Jackson owned, can the Beatles get any of their copyrights back? The answer to that question is a qualified yes. It was reported Friday night that Paul McCartney has been working since last December to regain at least some of the music copyrights of Beatles songs that were purchased by Michael Jackson, according to a story from Billboard. “Paul calls the songs 'his babies,'” Beatles researcher Peter Hodgson, who is credited by author Mark Lewisohn in “Tune In: All These Years, Volume 1,” and helped Philip Norman with his Lennon and upcoming McCartney biographies, told Beatles Examiner.

You'll recall that back in the mid-1980s, Michael Jackson did an end run around Paul McCartney and Yoko Ono, who had discussed buying the songs, and bought them himself. “He should have just gone ahead and purchased them for £20 million in the early 80's when he was offered them by Sir Lew Grade,” who phoned him personally, Hodgson said.

The U.S. Copyright Act allows songwriters to apply to get their song copyrights back. In the case of songs written before 1978, it's after 56 years. In this case, the first Lennon-McCartney songs hit that mark in 2018, a scant two years away. But any actions taken by McCartney and Yoko Ono will only apply in America as Sony/ATV will still hold them in the rest of the world.

But none of this might not have been necessary if it hadn't been for a critical conversation Yoko Ono reportedly had with Jackson's lawyer, John Branca, who phoned her to ask if she would be purchasing the Beatles songs which were up for sale at the time. According to an excerpt of the book “Michael Jackson Inc.: The Rise, Fall and Rebirth of a Billion Dollar Empire” that is on the Forbes magazine website, Ono, a friend of Jackson's as was McCartney, told Branca they weren't bidding on it.

“No?,” the book quotes Branca. “No, no, if we had bought it, then we’d have to deal with Paul,” Ono reportedly said, and then asked why he wanted to know. “Because Michael’s interested,” Branca said. “Oh, that would be wonderful in the hands of Michael rather than some big corporation,” she reportedly told him. The author said he asked Ono about the conversation some 30 years later and she said she didn't have a “complex dialogue” with Jackson's people.

But even if McCartney gets some of the copyrights back, Hodgson says his efforts will only be partly successful. “Paul will only own half of any songs in the U.S., as Yoko cut a deal for Sony to keep John's half.“


March 15, 2016

Beatles Minus One Bootleg - Excellent RMW

I had the pleasure of listening to the newly released Beatles Minus One 3CD collection. It was released in conjunction with the newly remastered Beatles One sets. This is an amazing collection of remixes and remasters from the Beatles outtakes library. You get to hear songs in a new light with side tracks brought to the front. And vocals stripped of extra backing tracks. Below is more information on this amazing set. Excellent work by the Beatles Remasters Workshop group. This has become my favorite new bootleg set. Highly recommended.

Here is something to keep you entertained over the Christmas holiday. It's a collection of single tracked vocal mixes of familiar tracks. Some of them are subtly different. On others the difference is dramatic and obvious. I hope you have fun spotting all the variations.

One of the reasons I love the early BBC radio recordings so much is because there were rarely overdubs. The Beatles had marvellous untrained raw voices and I always felt that much of that power and subtlety was lost when they applied blanket double tracking to everything. Here you can hear just how good they were as singers. John's voice in particular on some of these tracks from 1965 onwards is just gorgeous. Listen to him on Nowhere Man, In My Life and Across The Universe to name but a few. Of course Paul was equally great in a different way, and I think the final 60 seconds or so of Back In The USSR is one of the most exciting things I have ever heard.

Also included is a bonus volume of other remixes. They were remixed by me. I don't purport that these are "real" or "authentic" any more than anything else in this set. They are just a new way to enjoy familiar tracks, or to put right historical errors like the missing harmonica on From Me To You.


Don't Bother Me - after recording a live take The Beatles overdubbed some percussion including tambourine, claves and an Arabian drum. At the same time George double tracked his vocal, but here is the percussion version with a clean vocal.

I Want To Hold Your Hand - this is the raw take as performed live. After this they made an overdub onto the final track of the 4 track tape: John double tracked some of his vocals, George added some extra guitar riffs and presumably Paul and Ringo added the handclaps (see disc 3).

This Boy - this is another raw live take. The overdub consisted of John double tracking the middle section and George adding some extra guitar notes towards the end. According to Lewisohn there was also originally a guitar solo in the middle - probably after the line "till he's seen you cry".

A Hard Day's Night - this is the basic rhythm track with the live lead vocals muted. In their place is the overdub where John and Paul double tracked their voices; at the same time Ringo added bongos and cowbell and George a driving acoustic guitar part. A further overdub saw George add a 12-string electric guitar and George Martin piano.

I Should Have Known Better - presented without John's vocal double tracking.

If I Fell - presented without John and Paul's vocal double tracking. The second time around Paul stumbles over the lyric "was in vain" which, when combined with the subsequent vocal overdub, made it sound like his voice broke.

I'm Happy Just To Dance With You - this is the basic live take with George singing solo and John on guitar. For the overdub George double tracked his vocal while John and Paul added "ohhhh"s and Ringo percussion. George doesn't seem to have played any guitar on this song.

And I Love Her - presented without Paul's vocal double tracking.

Can't Buy Me Love - for the basic take the group played live but George's guitar work was erased and redone (the original solo can be heard faintly in the background). During an overdub Paul double tracked his voice and George double tracked his electric guitar solo. There was one further addition: 12 string electric guitar made after the return to England.

Anytime At All - a basic live take with George on 12 string once more and George Martin on piano. During an overdub John and Paul double tracked their vocals. Because of the way the lyrics crossed over, John left out different words on each vocal. Here he omits one word in the middle of every verse; in the other vocal he sings this word and then leaves a long pause before continuing in unison.

I'll Cry Instead - this is the basic live take. Onto this was overdubbed more guitar and vocals, plus tambourine.

Things We Said Today - the basic live take, after which Paul double tracked his voice adding harmonies and the others overdubbed piano, tambourine and some extra guitar.

I Feel Fine - presented without John, Paul and George's vocal double tracking.

Baby's In Black - this is the basic live take. Onto this John and Paul overdubbed two extra sets of vocals while George added a second lead guitar part including a solo.

Eight Days A Week - presented without John, Paul and George's vocal double tracking.

Leave My Kitten Alone - the group did a basic live take onto which they then overdubbed piano and tambourine and replaced George's lead guitar track (the old one can be heard in the background). This is how it sounded before John double-tracked his voice.

The Night Before - they seem to have recorded the rhythm track first with John on pianet and then added the vocals heard here. George played the solo twice, each time in a different octave. Paul then later added vocal double tracking.

I Need You - George not only double tracked his voice but also joined John and Paul to double track the background harmonies. Here there is only one set of vocals.

Ticket To Ride - during an overdub John double tracked his voice while Paul played a third electric guitar part and either George or Ringo rattled a tambourine. Here it is presented minus the overdub.

It's Only Love - this is how the basic performance would have sounded, with John on 12 string electric guitar similiar to the anthology take. On a subsequent overdub a vibrato electric guitar was added, and then a third guitar (Paul again?) along with tambourine and John's vocal double tracking. When George Martin remixed this song in the 1980s he did not fade down the second overdub towards the end as originally done, leading to some extra guitar and tambourine being heard.

I've Just Seen A Face - this performance harks back to the sound of their skiffle days with either Paul or John (or both) on acoustic guitar, George on 12 string acoustic and Ringo on brushes. An overdub added Paul's double tracking, marraccas and a second acoustic 12 string.

If You've Got Trouble - the basic take used the regular line up onto which Ringo added a vocal. During a different overdub Ringo double tracked his vocal, Paul and George chimed in with some "ohhh"s and George added a third guitar part for the solo. This mix uses some of the elements of that overdub but not Ringo's extra vocals. Rock on, anybody!

We Can Work It Out - the basic track consisted of drums, bass, acoustic guitar and tambourine. Paul and John added their vocals to this, and then a harmonium part was added (the one heard in this mix). The final overdub would have been the vocal double tracking by Paul with John simultaneously adding a second harmonium part (not heard here).

Day Tripper - as was common in this period the rhythm track was recorded first with the usual line up. The vocals heard here were then probably added and a subsequent overdub saw double tracked vocals, tambourine and (as was also common in this period) a third electric guitar added.

Nowhere Man - presented without John, Paul and George's vocal double tracking.

Think For Yourself - the basic track seems to have been drums, electric guitar and Paul on regular bass, to which Paul added "fuzz bass" (bass notes played on an electric guitar fed through a fuzz box) while the others played tambourine and maracca. John, Paul and George double tracked all of the vocals - only one batch is heard here.

The Word - one of the first times Paul was given a separate track for his bass. Presented here without John, Paul and George's vocal overdubbing.

Michelle - Paul seems to have played the guitar on this song in the same style as Yesterday and as he would later do on Blackbird and other songs. John's organ part is on the same track as the bass guitar. Paul did not double track his voice, but in the silent spaces in the track used for background harmonies he double tracked some of his guitar work. That final track is mixed out here. The ending seems to be authentic.


What Goes On - presented as a solo from Ringo without John and Paul's harmonies.

In My Life - presented without John, Paul and George's vocal double tracking.

Run For Your Life - presented without John and Paul's vocal double tracking.

Paperback Writer - a single tracked vocal from Paul. Also mixed out is the overdub where John and George added extra harmonies including "Frere Jacques". Paul played the aggressive electric guitar on this song, striving (if George is to be believed) to emulate Jeff Beck.

Eleanor Rigby - Paul seems to have been the only Beatle on this song. Only one of his vocal parts is heard here. Two more were overdubbed before the song was finished.

I'm Only Sleeping - John double tracked some of his vocals on this song while adding harmonies with Paul. The ADT effect was also later applied but is absent here.

Here There And Everywhere - presented without Paul's vocal double tracking. The harmonies by Paul, George and John are also single tracked.

And Your Bird Can Sing - presented without ADT on John's voice.

Dr Robert - presented without ADT on John's voice.

Penny Lane - Paul's voice is single tracked on the verses.

Strawberry Fields Forever - the first remake of this song (take 7), presented without John's vocal double tracking, but with the guitar and mellotron overdub not present on take 6.

Strawberry Fields Forever - the second remake (take 25), presented without John's vocal double tracking.

Sgt Pepper's Lonely Hearts Club Band - presented without John, Paul and George's vocal double tracking, and with the full "Billy Shears" ending.

All You Need Is Love - presented without John, Paul and George's vocal double tracking.

The Fool On The Hill - presented without Paul's vocal double tracking.

Your Mother Should Know - presented without Paul's vocal double tracking.

Across The Universe - presented without ADT on John's voice and guitar.

Back In The USSR - presented without John, Paul and George's vocal double tracking.

Come Together - presented without John's extra vocal parts.

Because - presented with single tracked vocals. On the record they were triple tracked.

Something - presented without George's vocal double tracking. However his own harmony parts are included.


From Me To You - a stereo equivalent of the mono single mix.

Thank You Girl - a stereo equivalent of the mono single mix.

The One After 909 - a stereo equivalent of the mono Anthology mix.

I Want To Hold Your Hand - the overdub during which they added various voices and instruments.

Komm Gib Mir Deine Hand - includes vocalisations on the right channel at the start not heard on Past Masters. When they recorded this song they took the basic rhythm track from I Want To Hold Your Hand and (because some elements were on a different track along with handclaps and vocals) George overdubbed some extra guitar and new handclaps were added. But the quality was poor for some reason. Here the left channel has been rebuilt in better sound.

Can't Buy Me Love - the other vocal and guitar solo (the first is heard on disc 1).

I Feel Fine - the other vocal overdub (the first is heard on disc 1). The guitar solo here is single tracked too rather than double tracked (George played it once on each vocal overdub).

Help! - the soundtrack to the "dart-less" clip with noticeably different vocals. This is taken from a 1966 German tv broadcast.

The Night Before - the other vocal overdub (the first is heard on disc 1).

That Means A Lot - a clearer and better balanced stereo mix than what has been heard before. On Sessions it is in faux stereo with copious reverb.

If You've Got Trouble - a different vocal from Ringo to that on disc 1.

Nowhere Man - the other vocal overdub (the first is heard on disc 1).

In My Life - the other vocal overdub (the first is heard on disc 2).

Yellow Submarine - a longer mix with the opening chant added (partially only), full sound effects, and the ending.

And Your Bird Can Sing - the original version (take 2) without the giggling. Remixed for better balance and stereo placement.

For No One - backing track.

Tomorrow Never Knows - with the guitar solo forwards rather than backwards.

Penny Lane - highlighting the myriad of small overdubs to this song.

Strawberry Fields Forever - a complete edit of take 25. The first verse is taken from an early mono mix. After this was made John apparently re-recorded his vocals, but never got around to finishing them, leaving the first verse blank.

Penny Lane - the stereo mix augmented with the trumpet flourish originally heard only on the advance promo.

Sgt Peppers - the complete track sans audience applause and with the original ending.

A Day In The Life - sans orchestra and with the unused "Ommmmmm" ending.

I Am The Walrus - complete stereo mix.

Obladi Oblada - the original version in a clear stereo mix. On Sessions it is in faux stereo with heavy reverb, ADT and limiting, giving the false impression of extra overdubs.

Revolution 1 - reconstruction of the version Lewisohn seems to describe in "Recording Sessions".

Old Brown Shoe - remixed to boost the very faint vocals. These were recorded (as was done with Not Guilty) by placing a microphone in the same room as a speaker through which George sang. As can be heard here, the results were slightly distorted, which is possibly why they were mixed so far down in volume.

More information is available here:

March 11, 2016

'Fifth Beatle' George Martin Dies Aged 90

LOS ANGELES/LONDON — George Martin, known as "the fifth Beatle" for his work in shaping the band that became one of the world's most influential music forces, has died at the age of 90.

He was considered the most successful music producer ever, cited in the Guinness Book of Records for having more than 50 No. 1 hit records over five decades in the United States and Britain alone.

He helped score, arrange, and produce many of the band's biggest hits, including "I Wanna Hold Your Hand," "A Day in the Life", “Yesterday”, "Eleanor Rigby" and "Love Me Do".

"I’m so sad to hear the news of the passing of dear George Martin," Beatle Paul McCartney said in a statement on Wednesday.

"If anyone earned the title of the fifth Beatle it was George."

A statement from Martin's family confirmed he had died peacefully at his home on Tuesday evening.

Earlier, Ringo Starr, the Beatles' drummer, had announced his death on Twitter: "God bless George Martin peace and love to Judy and his family... George will be missed."

Starr followed the message by posting a black and white photo of the Fab Four with Martin, saying "Thank you for all your love and kindness George."

Martin served as producer, collaborator and mentor to Beatles John Lennon, George Harrison, McCartney and Starr.

Lennon was shot dead in New York in 1980. Harrison died of cancer in 2001.

Tributes from the music world poured in on Twitter. "RIP to my musical brother George Martin. We were friends since 1964, & I am so thankful 4 that gift," said American music producer Quincy Jones.

Lenny Kravitz said: "The legends are really going home!" Boy George said: "George Martin. Gentleman and legend", while Mark Ronson said Martin was "the greatest British record producer of all time."

Britain's Prime Minister David Cameron said on Twitter: "George Martin was a giant of music - working with the Fab Four to create the world's most enduring pop music."


During his seven-decade career in the music industry, Martin produced almost all of the Beatles' recordings and also worked with Gerry & the Pacemakers, Shirley Bassey, Cilla Black, Jeff Beck, America, Cheap Trick and other acts.

Martin started work at Abbey Road Studios in 1950 producing records for EMI's Parlophone label.

He was noted for his comedy recordings with the likes of Peter Sellers, Spike Milligan and Beyond the Fringe and got his first Number 1 with The Temperance Seven in 1961. He signed The Beatles in 1962

The young band members were rough around the edges, but Martin saw their commercial promise and with them helped revolutionize the art of popular music recording.

His 1979 autobiography, "All You Need Is Ears", chronicles his discovery of the Beatles and their creative process.

Martin was knighted in 1996. In 2006, working with his son, Giles Martin, he helped develop the Beatles-inspired Cirque du Soleil show "Love" in Las Vegas, which went on to reap his two most recent Grammys.

(Reporting by Victoria Cavaliere in Los Angeles and James Davey in London, Editing by Ralph Boulton)


I read the news today, oh boy. Sir George Martin, The Beatles' record producer, passed away at age 90. I wondered, would the Beatles have accomplished so much without him? Sir Paul McCartney paid tribute to Martin, calling him a "true gentleman and like a second father to me." Martin gave them their big break in 1962 when he signed the Beatles to Parlophone/EMI, and he went on to produce the band's 13 albums between March, 1963 and May, 1970.
Martin was a classically trained musician, but was enthralled by the Beatles' creativity. He was much more than a mere overseer, Martin was an active participant with the Beatles. He wrote the string arrangements accompanying Paul McCartney on "Yesterday" and "Eleanor Rigby." Martin composed and orchestrated parts of "A Hard Day's Night," "Sgt. Pepper's Lonely Hearts Club Band," "Magical Mystery Tour" and "Yellow Submarine" albums. Martin and the Beatles together were creating new ways of recording music.
I saw Martin at a book signing event at Barnes & Noble five years ago. He was a soft spoken man. I remember the way he delighted the crowd with tales of Beatles sessions. But more than anything else I was taken by his little tidbit about what happened when the Beatles got the munchies in the middle of the night -- they would sometimes eat other studio employees' cookies and write them notes apologizing for the misdeed! Martin struck me as a man who lived exactly the life he wanted and was thankful for it.
Martin worked with Pete Townshend on the musical stage production of "The Who's Tommy," which opened on Broadway in 1993. He also worked with Elton John and produced hit records for Jeff Beck, Sting, Elvis Costello, Cheap Trick, America and Paul McCartney.
Martin produced two of the best James Bond themes. The first was "Goldfinger" by Shirley Bassey in 1964. The second in 1973 was "Live and Let Die" by Paul McCartney and Wings.
George Martin broke the mold. He set a high standard for rock record producers and there will never be another like him. Goodbye Sir George.