analisis anthology

Análisis Anhology 3

Disco1

ABeginning

(George Martin)

Originalmentedesignado como introducción a Don’t PassMe By, es un arreglo orquestal de George Martin -flautasaltas, arpas, violines, violas, violoncelos, clarinetes,bajo y otros instrumentos– que jamás sehabía publicado hasta el momento.

Happinessis a Warm Gun

(John Lennon/Paul McCartney)

Aquíse presenta John con una guitarra acústica cantandopor separado las tres partes de la canción –“INeed a Fix”, “Mother Superior Jumped thegun” y “Happinnes is a warm gun”-

HelterSkelter


http://masbeatles.blogspot.com/2008/06/anlisis-anhology-3.html

http://2.bp.blogspot.com/_1HxVrKfv0iw/SFAsHfPi4PI/AAAAAAAABVU/4Zug_u9Twt4/s1600-h/anth3cover.jpeg

Obviamentetodos los fans esperábamos la Helter Skelterde 27 minutos, pero eso ocuparía casi 1/3 deCD. Esta versión (toma 2), es totalmente diferente:se presenta como un arrastrado blues que nada tieneque ver con la feroz toma que finalmente aparecióen The Beatles.

MeanMr. Mustard


PolythenePam


GlassOnion


Junk

(Paul McCartney)

Piggies

(George Harrison)

HoneyPie


Estas6 demos fueron sacadas de las sesiones de Esher, aunquesolo tres de ellas se incluyeron en el álbumblanco. Las primeras dos canciones, Mean Mr. Mustardy Polythene Pam, escritas por John, no fueron grabadas

en EMI hasta 1969, aparecidas en el último discograbado por Los Beatles: Abbey Road.

Glass Onion, es una toma acústica, al igual queel resto.

Junk era una composición de Paul que escribiócuando Los Beatles estaban en La India en 1968, peroel grupo nunca hizo una versión formal en estudio,y la canción no se publicó hasta Abrilde 1970, cuando apareció en el primer disco dePaul después de la separación de Los Beatles“McCartney”.

Piggies estaba compuesta e interpretada por George,doblando su voz, al igual que Honey Pie de Paul, ambosen el Album Blanco, con letras levemente revisadas.

Don'tPass Me By

(Ringo Starr)

Estagrabación de Don’t Pass Me By es una variaciónde la master básica en el Album Blanco, antesde que la pieza distintiva del violín fuera agregada.

Ob-La-Di,Ob-La-Da


Versiónalternativa de Ob-La-Di, Ob-La-Da. Fiel a la idea original,se presenta en una estructura un poco diferente.

GoodNight


Contan solo un piano y una maraca, se presenta una versión

bellísima de Good Night. El corte se funde conla versión final a los 1:59. Lástima queno está completa.

CryBaby Cry


Toma1 de Cry baby cry. La voz de John es un poco másapagada, y carece de los arreglos que finalmente leagregaron. La canción de Paul al final no aparece.

Blackbird


Grabadapor Paul solo –aunque de hecho, en la versiónmaster también fue así- esta es la toma4 de Blackbird.

La mejor toma, fue la 32, con la orden del verso/estribillorevisada y una segunda pista de la guitarra acústicay los efectos de sonido del pájaro agregadosantes del final de esta sesión.

SexySadie


Toma6 de Sexy Sadie, es una versión más lenta.

Para añadir, los coros no aparecen.

WhileMy Guitar Gently Weeps

(George Harrison)

Demode While My Guitar Gently Weeps, muesta a George y unaguitarra acústica. Excelente interpretación.

HeyJude


Estaversión es simple con respecto a la definitiva.La canción empieza con John diciendo “theHeart of the Black Country” y Paul interpretauna canción con una guitarra acústicay un piano, pero enseguida comienza Hey Jude. Es bastantediferente a la master, predomina el piano, y los “nana na na-na-na-na” los hace Paul solo.

NotGuilty

(George Harrison)

LosBeatles estuvieron 3 noches haciendo la pista básicade Not Guilty. En total se hicieron 102 tomas, perola 99 les pareció la mejor. Pero de todas maneras,se justifica, es una maravillosa canción de George.Es una lástima que la hayan excluido del ÁlbumBlanco. Pero en 1979, George la re-hizo para su álbumGeorge Harrison.

MotherNature's Son


Muyparecida a la versión final, tiene unos pequeñoscambios, al principio y en el final Paul dice unas frases.

GlassOnion


EsteGlass Onion es exactamente la misma que fue editadaen el Album Blanco, con diferencia en el final, queJohn le puso unos efectos de sonido, entre ellos unaexclamación que se repite varias veces: “It’sa goal!” sacada de un partido de fútbolpasado por la BBC que se oye sobre gritos de gente.Luego George Martin se lo cambio por una partitura decuerdas, como ahora todos la conocemos.

RockyRaccoon


Toma8 de Rocky Raccoon. Esta grabación en ciertomomento deja de ser seria. Paul en una parte cambiaal “Doctor stinking” por “sminking”.

What'sthe New Mary Jane?


What’sthe New Mary Jane? era una canción para el ÁlbumBlanco, pero nunca fue publicada. El corte es de John,y, de los cuatro Beatles, pero solo el y George estabanpresentes. Lennon está en el piano y la voz,George en la guitarra y Yoko contribuyó con efectosde sonido.

StepInside Love


Los Paranoias

(John Lennon/Paul McCartney/George Harrison/Ringo Starr)

Estemedley, también es una rareza que se pirateóinnumerables veces.

La primera es una canción acústica quese le agrega una percusión simple. En el final,John hace un comentario, lo que nos lleva a Los Paranoias,(si, en español) pero lo único que tienede ello es el titulo.

I'mSo Tired


Bastantesimilar a la versión final, es una mezcla de3 tomas diferentes.

IWill


Toma1 de I Will, en donde Paul toca la guitarra acústicamientras John y Ringo agregan un acompañamientode percusión.

No tiene los “dum-dum” de Paul, que en laversión final, representaría al bajo.

WhyDon't We Do It In The Road?


Unatoma acústica de Why Don't We Do It In The Road?.Nada más para agregar.

Julia


Johncanta al principio pero luego deja que su guitarra acústicahaga el resto.

Disc2

I’veGot a Feeling


Muysimilar a la versión final, se oyen comentariosy algunos detalles que lo hacen diferente.

En "Everyone had a hard year" la voz de Johncambia.

SheCame In Through the Bathroom Window


Diga Pony


Dosgrabaciones del primer día de las sesiones deSavile Row.

She Came In Through the Bathroom Window, sacada delMedley de Abbey Road, es un ensayo.

Dig a pony es similar a la editada en Let It Be.

TwoOf Us


Estaversión de Two of Us es con dos guitarras acústicasy, por más que se escuchen muy bajo, la bateríade Ringo y el bajo de Paul también estánpresentes.

ForYou Blue

(George Harrison)

Unabuena interpretación del grupo – guitarraacústica (George), guitarra slide (John), piano(Paul), y batería (Ringo) –

Todas las grabaciones de esta canción fueronhechas el mismo día, pero Harrison re-grabósu voz para el álbum Let It Be el 8 de enerode 1970.

TeddyBoy

(Paul McCartney)

Unacombinación de dos perfomance de Teddy Boy, una

canción nunca lanzada por Los Beatles, pero publicadaen el primer álbum de Paul post-Beatle: McCartneyen Abril de 1970.

Medley:

Rip It Up

(Robert Blackwell, John Marascalco)

Shake, Rattle and roll

(Charles Calhoun)

Blue Suede Shoes

(Carl Perkins)

Aquíse presenta a Los Beatles interpretando viejos rockand roll’s durante las sesiones de Savile Row.Las tres canciones fueron grabadas el 26 de enero de1969, con George y John en las guitarras eléctricas,Ringo en la batería, Paul en el piano y BillyPreston en el órgano, todas con gran energía.

La primera es Rip It Up, es una canción grabadaoriginalmente por Little Richard, presenta a John yPaul a cargo de las voces. Luego nos lleva a Shake,Rattle and Roll, pero esta vez es John la voz líder,Paul solo hace segundas voces. La canción fueescrita por el compositor/artista/productor Jesse Stone(bajo el seudónimo de Charles Calhoun).

Por último está Blue Suede Shoes, al igualque en “Rip It Up”, las voces estána cargo de John y Paul. Fue compuesta por Carl Perkinsen 1955

TheLong and Winding Road


EvidentementePaul se quedó con la espina de lo que habíaecho Spector. Para “vengarse”, incluyóestas notas en la Anthology:

“LaAnthology presenta (a esta versión de The Longand Winding Road ) ‘como dictó la naturaleza’[…] sin el muro de sonido aplicado por Phil Spectoren ausencia del compositor Paul McCartney.”

Cono sin el muro, la canción nunca deja de ser hermosa.

Oh!Darling


Aquíse presenta una nueva canción de Paul. Es delproyecto Get Back/Let it Be, pero no se incluyóallí, sino en Abbey Road.

Allthings Must Pass

(George Harrison)

Durantelas sesiones de Get Back George sugirió con frecuenciaesta nueva composición, pero el resto no quisoy la tuvo que dejar para su primer disco despuésde la separación de Los Beatles: All things mustpass.

Esta es una demo con dos guitarras y voz, grabada enel día del cumpleaños de George juntocon otras dos (“Old Brown Shoe” y “Something”).

Mailman,Bring Me no More Blues

(Ruth Roberts/Bill Katz/Stanley Clayton)

Otrasde las canciones perdidas. Los Beatles hacen de un temaque no es de ellos, una versión muy agradable.Vale la pena escucharla.

GetBack


Cancióncantada en el edificio de Saville Row. No es muy diferentea la editada en Let it be, parece como si la hubieseninterpretado más rápido.

Dejando de lado esos datos, este fue un momento histórico:los Beatles están cantando la última canciónen vivo.

OldBrown Shoe

(George Harrison)

Delas tres demos creadas por George el 25 de febrero de1969 esta es la más elaborada. Aunque es muydiferente con respecto a la instrumentación;si no fuera por la letra, la canción parece otra.

Octopus'sGarden

(Ringo Starr)

Enagosto de 1968, dos meses después de las grabacionesde su primera composición solo, Don’t PassMe By, Ringo durante sus vacaciones se inspira en unacomida a base de pulpo, y escribe su segundo número.

Esta versión, no es muy diferente a la que yaconocemos, pero hay ligeras diferencias en la guitarra,

y no están los efectos de burbujitas, de todasmaneras no quita que sea una versión buena.

Maxwell'sSilver Hammer


Escritapor Paul en el período del Álbum Blancoy ensayado en el Twickenham Film Studios durante lassesiones de Get Back/Let it Be, Maxwell’s SilverHammer fue grabada para Abbey Road. Los Beatles en esedía trabajaron para hacer la pista básica.Es similar a la versión final, falta el martilloy algunas elementos. Como curiosidad, el solo de guitarralo “ejecuta” Paul con su voz.

Something

(George Harrison)

Laúltima demo grabada por George en el díade su cumpleaños.

Destinada para Abbey Road, es la primer canciónde George como lado A en un single. Esta versiónes como la de While my guitar gently weeps, pero conguitarra eléctrica.

Hay unas frases que no aparecen en la versióndefinitiva.

ComeTogether


Lapista básica del Come Together de John fue grabadaen una sola sesión. La mejor versión,fue la toma 8.

Aquí John no toca instrumento alguno, solo canta.

Es bastante diferente con respecto a la original, lavoz de John es desgarradora, el solo de guitarra y elfinal también difiere bastante.

Come and Get It

(Paul McCartney).

Ain'tShe Sweet

(Jack Yellen/Milton Ager)

Doscanciones sacadas de las sesiones de Abbey Road.

Come and Get It, era una canción ofrecida exclusivamenteal grupo que firmó con Apple: the Iveys. En menosde una hora, Paul tocó el piano, doblósu voz, le puso maracas, le agregó batería,y por último el bajo, fantásticamente,salió una versión muy buena.

Ain’t She Sweet, es una lígera improvisación.Este corte, es más viejo que Los Beatles (1961)y fue publicada en Anthology 1.

Because

(George Harrison)

Aquípodemos apreciar a Los Beatles sin música. Eshermoso oír a John, Paul y George fundir susvoces en esta excelente canción.

Letit Be


Muybuena versión de Let it be. Incompleta la letra,no deja de ser arrebatadora.

IMe Mine

(George Harrison)

Máscorta que la editada en Let it be, es la misma que enel disco ya nombrado, pero sin los arreglos de PhilSpector.

TheEnd


Yasí concluyen la serie de las Anthologies. ¿Quémejor que terminar con este tema, no? Llegamos al fincon la sección rockera un poco alterada (y sinla voz de Paul) y con la orquesta del final a un volumenun tanto mayor.

Análisis Anthology 2

http://masbeatles.blogspot.com/2008/06/anlisis-anthology-2.html

Disco1

RealLove

(John Lennon)

Otracanción más de John revivida por Paul,George y Ringo.

Aunque Harrison no quedó conforme con el resultadofinal, yo creo que es tan hermosa como Free as a bird.McCartney dobla la voz de Lennon casi de forma indistinguible;y además, el sólo de Harrison es sencillopero genial.

YesIt Is


Estaversión de Yes it Is es una mezcla de dos tomas.

La primer toma es murmurada por John de manera muy íntima,y luego cuando echa a perderla, se funde de forma muynatural con la versión final.

I’mDown


http://4.bp.blogspot.com/_1HxVrKfv0iw/SFAr5PDRsYI/AAAAAAAABVM/PWBf5CUb4NA/s1600-h/anthology_2.jpg

Toma1 de I’m down. Es bastante parecida a la versiónfinal, no están los coros y Paul aúllay ladra. Y en el final se puede escuchar una frase dichapor el mismo McCartney: “Plastic soul man, plasticsoul”, que era una frase que acuñaban losmúsicos negros para describir al cantante delos Rolling Stones, Mick Jagger.

You’vegot to Hide Your Love Away


IfYou've Got Trouble


Enel cuarto día de las sesiones de Help! Los Beatlesgrabaron estas dos canciones.

You’ve got to Hide Your Love Away no es muy diferentea la master, no están las flautas y la voz deJohn cambia levemente.

If You've Got Trouble era una canción compuestapor John Lennon y Paul McCartney para que Ringo la cantara,aunque después la reemplazaron por un cover deVoney Morrison y Johnny Russell (Act Naturally).

ThatMeans a Lot


Delas mismas sesiones que “If You’ve Got Troubles”,“That means a Lot” era una original de McCartneyque tanto John como Paul la rechazaron, pero segúnmi punto de vista, hubiese sido un valioso componentede Help!

Yesterday


Sepodría decir que es la misma canción editadaen Help!, pero sin el cuarteto de cuerdas. Se nota quele falta el toque mágico que le dio George Martin.

It’sOnly Love


Latoma 2 de It’s Only Love es bastante parecidaa la definitiva. Falta la guitarra de George, la bateríaes un poco diferente y la voz de John es un poco más“viva”.

IFeel Fine


TicketTo Ride


Yesterday


Help!


Estas4 canciones, fueron tomadas del show de televisiónbritánico Blackpool Night Out. No son muy diferentesa las versiones en estudio, son tan solo actuacionesen vivo.

John bromea después de la interpretaciónde Yesterday: “Thank you, Ringo. That was wonderful!"("¡Gracias Ringo, eso estuvo maravilloso!").

Everybody'sTrying To Be My Baby

(Carl Perkins)

Unarara grabación de Los Beatles en el famoso conciertoen el Shea Stadium, ya que nunca se editó, tampocose incluyó en la película The BeatlesAt Shea Stadium.

NorwegianWood (This Bird Has Flown)


Estaversión, apunto de ser editada para Rubber Soul,los Beatles creyeron que la podían mejorar ¡ysí que lo hicieron!

I'mLooking Through You


Unaversión más lenta con respecto a la master,tanto como la instrumentación y la voz cambian.También hay que agregar que falta el estribillode “Why Tell me Why”.

12-Bar Original

(John Lennon/Paul McCartney/George Harrison/Ringo Starr)

Otrotema perdido. Un instrumental de rhythm and blues bastanteatípico aunque interesante.

TomorrowNever Knows


Estaversión es bastante diferente a la ya conocida.Cambia la instrumentación pero la voz de Johntiene el mismo efecto.

GotTo Get You into My Life


Sinla sección de viento, parece una versióntotalmente diferente. Solo consta de un órgano,una guitarra, y una batería más las voces.

AndYour Bird Can Sing


Unaexcelente versión. Lástima las risas continuasde los Beatles durante toda la canción.

Taxman

(George Harrison)

Estaversión de Taxman es idéntica a la oficial,lo único que cambia son los “Ha ha, misterWilson” y “Ha ha mister Heath” porun aparatoso "anybody got a bit of money?".También cabe destacar que la canción enel final no se desvanece.

EleanorRigby [strings only]


Instrumentalde Eleanor Rugby. Aquí podemos apreciar mejorel doble cuarteto de cuerdas hecho por George Martin.

I'mOnly Sleeping [rehearsal]

I'mOnly Sleeping [Take 1]


Laprimera es un ensayo instrumental de 40 segundos, radicalmentedistinto.

La segunda es la toma 1 de I'm Only Sleeping. Presentaa John y Paul a cargo de las voces, acompañadospor una guitarra acústica y una pandereta.

Rockand Roll Music

(Chuck Berry)

She'sa Woman


Sacadasde una aparición en vivo en Tokio.

Se escuchan mejor los gritos de los fans que las canciones.

Disco2

StrawberryFields Forever [demo sequence]


Esta es una demo grabada en casa deJohn. Es sólo Lennon, con una guitarra acústica.

StrawberryFields Forever [Take 1]


Toma 1 de Strawberry Fields Forever.Es bastante diferente a la demo, pero aún así,no es una versión muy buena.

StrawberryFields Forever [Take 7 and edit piece]


Esta es la versión definitivade Strawberry Fields Forever, salvo algunos detalles,ya que en algunas partes “salta” la canción.Y en el final se siente solo la magnífica ejecuciónde Ringo sin los sonidos de tren que se agregaron posteriormente.

PennyLane


Una versión idéntica ala publicada, solo cambia algunas partes de la instrumentaciónen algún momento. Si se compara el final de laversión oficial, y esta, se nota una diferencia.

ADay in the Life


Esta es una mezcla de las tomas 2 y6. El comienzo empieza con comentarios y sonidos deinstrumentos. En la introducción, John murmura:“sugar plum fairy, sugar plum fairy”. Antesy después que Paul cante su parte de la canción,también difiere. Y la orquesta del final da laimpresión que se escucha mejor.

GoodMorning Good Morning


Un poco diferente a la master, estánausentes los coros y los sonidos de animales.

Onlya Northern Song

(George Harrison)

Toma 11 de Only a Northern Song. Esmuy parecida a la que se editó en Yellow Submarine.Aquí la canción está completamentelimpia, carente de arreglos.

BeingFor The Benefit Of Mr. Kite [Takes 1 and 2]


BeingFor The Benefit Of Mr. Kite [Take 7]


John estropea la toma 1 cantando “trampolín”.Luego empieza la toma 2 y Lennon la canta, y Paul leaconseja como hacerlo.

La toma 7 no es muy diferente a la versión final.

Lucyin the Sky with Diamonds


Otra mezcla de tomas. El acompañamientobásico de la toma 6 (1º de marzo), la tamborade la toma 7 (también grabada el 1º de marzo)y las voces de la parte del estribillo de la toma 8al siguiente día.

WithinWithout You (Instrumental)

(George Harrison)

Es la misma versión que abreel Lado B de Sgt. Pepper’s Lonely Hearts ClubBand, pero sin la voz de George.

Sgt.Peppers Lonely Hearts Club Band [Reprise]


Toma básica de esta reprise.No se presentan la segunda voz de John y los aplausos.

YouKnow My Name (Look up the Number)


No hay mucho para decir. Solo que esuna versión un poco más larga que la oficial,y está en stereo.

Iam the Walrus


Cambia mucho con respecto a la versiónoficial, sobretodo en el final, donde está ausentela obra de teatro de Shakespeare.

TheFool On The Hill [demo version]


Esta es una demo de The Fool On TheHill, con tan solo la voz de Paul y un piano.

Yourmother Should Know


“Do you want us to do it again,George?” dice Paul a George Martin cuando se iniciala grabación. No es muy diferente con respectoa la que ya conocemos, cambia la batería de Ringoen el primer minuto y el final.

TheFool on the Hill [Take 4]


Toma 4 de The Fool on the hill. La bateríaaparece desde el principio y hay dos flautas que aparecenmás que en la versión definitiva.

HelloGoodbye


Toma básica de Hello Goodbye.Es idéntica a la publicada, salvo por la guitarraque en algún momento se puede escuchar diferente.

LadyMadonna


No cambia mucho con respecto a la versiónmaster, se escuchan pletóricamente las palmasy los saxos.

AcrossThe Universe


De la misma sesión que Lady Madonna,es una versión muy íntima y bonita. Excelenteforma de terminar la Anthology 2.

Análisis Anthology 1

Disco

1

Free asa bird

(Originalmente compuesta por John Lennon, la versión de Los Beatles espor John Lennon, Paul McCartney, George Harrison y Ringo Starr)

En 1994, cuandoa Paul se le ocurrió la idea de sacar nuevos singles de los Beatles,Yoko le dio tres grabaciones que John había echo muchos años atrás:Free as a Bird, Real Love y Grow Old With Me (aunque esta última aparecióen la Anthology de Lennon).

Para completar la canción, McCartney tuvo que doblar la voz de John envarias ocasiones para taparla, ya que no era de muy buena calidad (Lennon jamáspensó que esas grabaciones iban a publicarse) y la mejoraron con losavances tecnológicos.

http://masbeatles.blogspot.com/2008/06/anlisis-anthology-1.html

http://4.bp.blogspot.com/_1HxVrKfv0iw/SFArg5faTJI/AAAAAAAABVE/0rkhNjS8esU/s1600-h/anthology_1.jpg

La canción en si, es muy buena, es más, creo que es la mejor canciónde los Beatles, y verdaderamente, demuestra que por más que John no estéfísicamente, sigue siendo el mejor músico de la historia.

“We WereFour Guys… That’s all”

Discurso de JohnLennon a Jann Wenner de Rolling Stone, en New York City, 8 de diciembre de 1970.

That’llbe the day

(Jerry Allison/Buddy Holly/ Norman Petty)

In SpiteOf All Danger

(George Harrison/Paul McCartney)

Grabadas en PhillipsSound Recordings Service en Liverpool, 1958.

That’ll be the day es una maravillosa versión de The Beatles deléxito de Buddy Holly and the Crickets.

Mientras que In Spite Of All Danger es una balada country muy buena, mostrandolos tempranos talentos compositivos.

“SometimesI’d Borrow… those still exist”

Paul McCartneyhablándole a Mark Lewisohn, 3 de noviembre de 1994, London.

HallelujahI love her so

(Roy Charles)

You’llBe Mine


Cayenne

(Paul McCartney)

Tres grabacioneshechas en la casa de Paul con el mismo McCartney, John, George y Stuart.

Hallelujah I love her so es un número pop de Ray Charles interpretadode gran manera por Paul.

You’ll Be Mine es bastante extraña, incluso tiene una secciónhablada por John.

Luego tenemos a Cayenne, un instrumental compuesto por Paul McCartney. Curiosoal menos.

“First ofall… It didn’t do a thing here”

Paul McCartneyhablándole a Malcolm Threadgill, en Hullme Hall, Port Sunlight, Cheshire,27 de octubre de 1962.

My Bonnie

(Tradicional, arreglado por Tony Sheridan)

Ain’tShe Sweet

(Milton Ager/Jack Yellen)

Cry Fora Shadow

(George Harrison/John Lennon)

Estas tres cancionesfueron sacadas durante la segunda visita de Los Beatles a Hamburgo.

My Bonnie, una canción tradicional inglesa, fue cantada por Tony Sheridan,pero el acompañamiento musical estuvo a cargo de Los Beatles.

En Ain’t She Sweet, el que canta esta vez es John. Una versiónbastante buena.

Cry For a Shadow, es un instrumental parodiando a las canciones del grupo “TheShadows”.

Es la primer y única composición acreditada “Harrison-Lennon”que se conoce hasta el día de hoy.

“Brian Wasa Beautiful Guy… He presented us well”

John Lennon hablándolea David Wigg de el [London] Daily Express y BBC Radio 1 Programme Scene andHeard, octubre de 1971, New York City.

“I SecuredThem… a Beatle drink even then”

Brian Epstein leyendoun extracto de su autobiografía “A cellarful of Noise”, enEMI Studios, London, 13 de octubre de 1964.

Searchin’

(Jerry Leiber/Mike Stroller)

Three CoolCats

(Jerry Leiber/Mike Stroller)

The Sheikof Araby

(Harry B. Smith/Francis Wheeler/Ted Snyder)

Like DreamersDo


Hello LittleGirl


Cinco cancionestomadas de las audiciones para Decca Records. Aquí se presentan JohnLennon, Paul McCartney, George Harrison y Pete Best.

Searchin’ y Three Cool Cats eran los favoritos en este tiempo, y amboseran de la misma matriz: números de comedia escritos por Leiber y Stroller,y originalmente grabado por el equipo americano R&B the Coasters, en 1957y 1958 respectivamente. Para Searchin', Paul es el cantante principal, mientrasque John y George hacen las segundas voces; y en Three Cool Cats, la voz líderes George.

The Sheik Of Araby era otra de las grandes favoritas, otra vez Harrison estáa cargo de la primera voz. La canción fue originalmente realizada enel musical Make It Snappy, y en la película de Hollywood Tin Pan Alley.

Like Dreamers Do y Hello Little Girl, dos composiciones Lennon-McCartney, quenunca se grabaron en la etapa EMI.

Los Beatles le dieron a The Fourmost, otro grupo de Liverpool manejado por BrianEpstein, Hello Little Girl en 1963; mientras que Like Dreamers Do fue grabadapor the Applejacks en 1964. Ambas canciones pudieron haber entrado en PleasePlease Me sin problemas.

“Well, therecording test… by my artists”

Brian Epstein leyendoun extracto de su autobiografía “A Cellarful of Noise”, enEMI Studios, London, 13 de octubre de 1964.

BesamoMucho

(Consuelo Velásquez/Sunny Skylor)

Si… otracanción de Los Beatles ¡en español! Lástima que Paullo único que canta en dicho idioma, es el título de la canción.

Love MeDo


Los Beatles grabaronLove Me Do tres veces -6 de junio, y 4 y 11 de septiembre de 1962- en todaslas ocasiones con diferente baterísta.

Esta versión es ligeramente diferente a la que ya conocemos, la armónicaes más sencilla, no está la pandereta y las voces cambian.

How Do You Do It?

(Mitch Murray)

George Martin queríaque este fuera el primer single de Los Beatles, pero ellos querían publicarmaterial propio.

A pesar de que no es de Los Beatles, es fantástica. Otra joya inédita.

PleasePlease Me


Una semana trasla grabación de How Do You Do It? Los Beatles hacen la tercera visitaa Abbey Road.

La canción, es bastante diferente a la versión final, la armónicano está y las segundas voces difieren.

Aquí está Andy White en la batería.

One After 909 [FalseStart] [False Starts]

One After909 [Complete]


La canciónmás larga de Los Beatles, pero no en minutos, sino en el tiempo que llevópublicarla.

La primera es una secuencia, abarca la toma 3, un extracto de la 4, y principiode la 5.

La segunda, es una toma completa, obviamente, es muy diferente a la grabadaen 1969 para Let It Be.

Lend MeYour Comb

(Kay Twomey/Fred Wise/Benjamín Weisman)

El éxitode Please Please Me y From Me To You, hizo que los Beatles tuvieran una predominanciatan rápida que, apenas once meses después de firmar con Parlophone,fueron ofrecidos a su propia serie de radio semanal por la BBC.

No hay mucho que decir de la canción, salvo que fue publicada tambiénen Live At The BBC.

I’llGet You


Grabada en el LondonPalladium. Es raro escuchar a los fans gritar tan poco en una actuaciónen vivo de Los Beatles.

“We wereperformers… in Britain”

John Lennon hablándolea Jann Wenner de Rolling Stone, 8 de diciembre de 1970, New York City.

I Saw HerStanding There


From Meto You


Money (That’swhat I Want)

(Berry Gordy, Jr. /Janie Bradford)

You ReallyGot a Hold on Me

(William Robinson)

Roll OverBeethoven

(Chuck Berry)

Estas 5 cancionesfueron grabadas para la radio sueca.

No son muy diferente a las grabadas en estudio, salvo por Roll Over Beethoven,que parece una interpretación más rápida.

Disco 2

She LovesYou


Till ThereWas You

(Meredith Wilson)

Twist andShout

(Bert Russell/Phil Medley)

Estos tres cortesfueron sacados de una actuación en vivo en el Royal Variety Show.

Y si bien las canciones no son muy diferentes a las grabadas en estudio. Hayun hecho curioso, específicamente en Twist and Shout, donde John le dicea los de los asientos caros que hagan sonar sus joyas.

This Boy


I WantTo Hold Your Hand


“Boys, whatI was thinking…”

MoonlightBay

(Edgar Madden/Percy Wenrich)

Tres cancionesinterpretadas por Los Beatles durante la aparición en el programa cómicode TV británico “The Morecambe and Wise Show”.

This Boy y I Want To Hold Your Hand son las canciones de los Beatles, muy similaresa las sacadas en el single, mientras que Moonlight Bay es parte de un númerocómico.

Can’tBuy Me Love


Pista básicade Can’t Buy Me Love. Grabada en el final de la sesiones en EMI’sPathé Marconi studios, en donde también grabaron las versionesen alemán de I Want To Hold Your Hand y She Loves You.

All MyLoving


La primera canciónde Los Beatles en la aparición en The Ed Sullivan Show.

Aunque esta no era el debut en la televisión de Estados Unidos, la primeravez que se presentó esta canción, fue un momento históricopara la TV de USA, el A C Nielson marcó un rating de 23,240,000 algoasí como 73 millones de personas.

You Can’tDo That


And I LoveHer


Dos grabacionesde las sesiones Beatles en EMI el 25 de febrero de 1964.

You Can’t Do That, no es muy diferente a la master; mientras que And ILove Her cambia ligeramente. La batería sobresale mucho más, yhay unos arpegios de guitarra que aparece durante casi toda la canción.

A HardDay’s Night


Toma 1 de A HardDay’s Night. Es muy diferente con respecto a la version final. La vocescambian (sobretodo la de Paul), y aquí aparece un solo de guitarra queluego se sustituyó por un piano.

I WannaBe Your Man


Long TallSally

(Enotris Jonson/Richard Penniman/Robert Blackwell)

Boys

(Luther Dixon/Wes Farell)

Shout

(Rudolph Isley/Ronald Isley/O’Kelly Isley)

Grabadas en losestudios IBC para un especial de televisión.

Las tres primeras canciones, ya las conocemos todos, y cambian bastante (sobretodoLong Tall Sally).

Shout, no parecía ser que formara parte del repertorio de Los Beatles.La canción no es muy buena, pero sí es digna para una Anthology.

I’ll be Back[take 2]

I’llbe Back [take 3]


La toma 2 de I’llBe Back parece un vals, pero como John creyó que era difícil detocar, invalidó la toma rugiendo en los últimos versos.

La toma 3, cambia el estilo, pero aún así es diferente a la master.

You KnowWhat to Do

(George Harrison)

No Replay[demo]


Dos demos grabadaspor los Beatles en EMI.

You Know What To Do, una canción totalmente perdida; es una demo, queconsta de solamente guitarra, bajo y pandereta. Es la segunda composiciónde George (la primera había sido Don’t Bother Me, usada en WithThe Beatles. Tiene una melodía vocal muy buena y no se entiende muy bienpor qué no la completaron.

No reply, también es una demo, grabada para dársela a Tommy Quickly,otro de los artistas de Brian Epstein.

Intrigantemente, no se sabe quien toca la batería. No es Ringo ni JimmyNicol, que había sustituido a Starr porque este último se habíaenfermado.

Mr. Moonlight

(Roy Lee Johnson)

Leave MyKitten Alone

(Little Willie John/Titus Turner/Hames McDougal)

Dos canciones delas sesiones de Beatles For Sale.

Mr. Moonlight es muy similar a la master, de hecho, lo único que cambiaes el solo de guitarra que utilizan de puente.

Leave My Kitten Alone, en 1959, fue un hit de Little Willie John.

Los Beatles hicieron cinco tomas, y decidieron que la ultima era la mejor.

La grabación nunca fue mezclada para el lanzamiento de Beatles For Sale;pero hubiese encajado mejor que, por ejemplo, Rock and Roll Music.

No Reply


Casi cuatro mesestras la grabación de la demo de No Reply, ahora Los Beatles retornanpara hacer la versión definitiva.

Aunque Norman Smith antes de empezar la canción anuncia “Take 2”(toma 2), en realidad, es la toma 8.

La canción en si, es muy diferente a la master, sobretodo el principio.

John concluye la canción con la frase “Well, we just found outwhat to do, anyway – it’s good!”

Eight Day’sa Week [False Starts]

Eight Day’sa Week [Complete]


La primera, esuna secuencia de Eight Day’s a Week, donde los Beatles no teníanclaro el comienzo de la canción, y empezaban a capella con unos “uhhhhh”.

La segunda es la toma 5, que está completa, y es parecida a la master(toma 13).

KansasCity/Hey-Hey-Hey-Hey!

(Jerry Leiber /Mike Stroller/Richard Penniman)

En esta sesiónel grupo comienza y finaliza Kansas City/Hey-Hey-Hey-Hey!, I’ll FollowThe Sun, Everybody’s Trying To Be My Baby, Rock and Roll Music, Wordsof Love y el single de la época: I Feel Fine; y además re-hacenMr. Moonlight y completan Eight Day’s a Week. Todo eso en apenas 9 horas.

No hay mucho que decir de la canción, quizás el solo de guitarrasuene un poco diferente.

Así concluyeel Anthology 1, que muestra algunas canciones perdidas de los Beatles tempranoy algunas actuaciones en directo interesantes, como para ver un pantallazo delo que eran los Fab Four en aquella época.

"THE BEATLES ANTHOLOGY 1" - an analysis (updated version)

same in German language

A song analysis of the complete "Anthology I" album by E. Schwarz.First printed in fan mag "Beatlemania".Translation into English attempted by Troni.

This page contains the updated version. If you've downloaded this page before Jan 8, 1996 - here are the news.

Worldwide release on Tuesday, 21. November 1995.

2CD: Apple 7243 8 34445 2 6 (+ 48 page booklet)2MC: Apple 7243 8 34445 4 03LP: Apple 7243 8 34445 1 9 (PCSP 727) (3 times foldout cover)

The set contains the new song "Free As A Bird", previously unreleased versions by The Beatles from 1958-1964 (mostly in mono sound), digged out from the EMI ar chives, Polydor and Decca Records, + some live versions taken from radio and tv bro adcastings + some small interview parts.

Producer and project leader: George Martinadditional research: Mark Lewisohnremix engineer: Geoff EmerickCover: Klaus Voormann

This chronological representation of the early Beatles years is addressed to the advanced fans/collectors. It seems, that the editors are noticed the various takes on bootlegs and because of that they decided to put different takes (mostly previously unbooted) on Anthology album.

The recording details are to be read in the booklet (respectively on the album cover).

But it's unintelligible why the outtakes are mostly in mono, as they were released on bootlegs in stereo with only small differences.

The following text is an analysis of the tracks, the mainspot is the difference between the tracks on Anthology and previously released versions.

Corrections are very welcome! Please e-mail [email protected]

LP-sides: 1A = CD1/1-12, 1B = CD1/13-24; 2A = CD1/25-34, 2B = CD2/1-8; 3A= CD2/9-18, 3B = CD2/19-26

* mono as written on cover (+ hearing impression)

(*) mono (hearing impression)

http://www.wirtschaft.tu-ilmenau.de/~weigmann/a_69_eup.html

http://www.wirtschaft.tu-ilmenau.de/~weigmann/bm_mag.html

http://www.wirtschaft.tu-ilmenau.de/~weigmann/a_69_g.html

CD1: Total time 65:23

1 FREE AS A BIRD 4:24New arrangement of the John Lennon piano demo (3:25 in mono sound available on various bootlegs), produced by Jeff Lynne (Ex-ELO, Traveling Wilburys). Additional text by Paul McCartney. Additional guitar strings by George Harrison. Additional background vocals by the the remaining Threetles. Near the end you can hear a Lennon backward message: "It's turned out nice again". This is a phrase by George Formby, a British humorist of the 40s. Note: at the end of the FAAB video an actor is dressed as the British funny man. A Beatles source said: "When Lennon made the demo, he recorded some of his chat with Yoko Ono. George Formby was one of his great heroes and he coved to use the line whenever he could. Paul McCartney and the lads thought, it was the perfect way to end the single and they feel John would certainly see the funny side."

2. "WE WERE FOUR GUYS ... 0:13part of John Lennon interview with Jan Wenner ("Rolling Stone") New York 8.12.1970.

3. THAT'LL BE THE DAY * 2:07The complete A-side of the legendary private pressed 1st Quarry Men single from 1958. The only remaining is in the possession of Paul McCartney who played some beats on 12.09.84 in UK tv "Arena" Buddy Holly special. (All bootlegged pieces are from this broadcasting). Complete now!

4. IN SPITE OF ALL THE DANGER * 2:45B-side of the 1st Quarry Men Single from 1958, a McCartney/Harrison composition. Already known was only the name, but not the song itself.The track has been edited. "Record Collector" No. 197 (Jan.96), article "The Beatles Anthology I" by Andy Davis says: "..Macca's priceless original clocks in 3:25. A repeated second verse and and middle eight account for the missing 40 seconds, and who can guess at the motives for such an arbitrary work?..."

5. SOMETIMES I'D BORROW ... 0:18Interview Paul with Mark Lewisohn, London 3.11.94

6. HALLELUJAH, I LOVE HER SO * 1:137. YOU'LL BE MINE * 1:398. CAYENNE * 1:14All Quarry Men hometapes (Paul's house in Liverpool, summer 1960) in better quality as on bootlegs (LP/CD "The Quarrymen At Home", track 6 cutted (on bootleg 2:19), tr. 7 complete; tr. 8, ein Macca instrumental was also cutted (on bootleg 2:27, but wrong named: "Thinking Of Linking")

9. FIRST OF ALL ... (0:15) 0:07Interview Paul with Malcolm Threadgull/Monty Lister, 27.10.62 Cheshire; complete interview (on flexi) was an addition to the Lewisohn book "Beatles Live".

10. MY BONNIE 2:42Stereo version, Hamburg 1961 with Tony Sheridan - lead vocal Remix & reversed

channels! The stereo channels of "My Bonnie" are reversed after the intro and the hand clapping is mixed a bit back (more to the middle).

11. AIN'T SHE SWEET (*) 2:14Mono version with overdubbed snare drum, John Lennon - lead vocal; Hamburg in 1961. Version on US vinyl & Amiga (GDR label) vinyl.

12. CRY FOR A SHADOW 2:22Stereo version, Hamburg in 1961. The stereo channels are also reversed in compare to the conventional stereo mix.

13. BRIAN WAS A BEAUTIFUL GUY ... 0:11Interview John Lennon with David Wigg, October 1971.

14. I SECURED THEM... 0:18 Brian Epstein is reading out from his book "A Cellarful Of Noise'', EMI Studios Lon don 13.10.1964.

15. SEARCHIN' * 3:0016. THREE COOL CATS * 2:2517. THE SHEIK OF ARABY * 1:4318. LIKE DREAMERS DO * 2:3519. HELLO LITTLE GIRL * 1:40Tracks 15-19 are Decca-songs from 1.01.1962. Slower than on "Complete Silver Beatles" and other early bootlegs, but a little bit faster than on the "speed corrected version" Yellow Dog Box. Maybe THIS is the corrected speed.

20. WELL, THE RECORDING TEST ... 0:32Brian Epstein is reading out from his book "A Cellarful Of Noise'', EMI Studios Lon don 13.10.1964

21. BESAME MUCHO * 2:37EMI Studio 6.06.62 with Pete Best - dr, "Sessions"-remix

22. LOVE ME DO * 2:32EMI Studio 6.06.62 with Pete Best - dr. NEW!

23. HOW DO YOU DO IT * 1:57EMI Studio 6.09.62 with Pete Best - dr, "Sessions"-remix

24. PLEASE PLEASE ME * 1:59EMI Studio 6.09.62 with Pete Best - dr. NEW !

25. ONE AFTER 909 (SEQUENCE) * 2:23EMI 5.03.63, parts of takes 3, 4 & 5 in mono. On bootlegs (Vigotone VT 123 + Yel low Dog YDB 203/YD 064 in stereo and complete (5:41))

26. ONE AFTER 909 (COMPLETE) * 2:56EMI Studio 5.03.63, mono remix, edit at beginning of g-solo, was on bootleg "Unsur passed Masters Vol. 7" (on "Sessions" edit in middle of g-solo and track in stereo)

27. LEND ME YOUR COMB * 1:50BBC Studios rec. 2.07.63, broadcasted 16.07.63 "Pop Go The Beatles"(5), available on various bootlegs, but here in better sound quality

28. I'LL GET YOU * 2:08TV-Show "Sunday Night At The London Palladium'' (live) 13.10.63. From this show only "Twist And Shout" on bootleg (Beeb Vol. 7) known. NEW!

29. WE WERE PERFORMERS ... 0:12Part of John Lennon Interview with Jan Wenner ("Rolling Stone" New York 8.12.1970).

30. I SAW HER STANDING THERE * 2:4931. FROM ME TO YOU * 2:0532. MONEY (THAT'S WHAT I WANT) * 2:5333. YOU REALLY GOT A HOLD ON ME * 2:5834. ROLL OVER BEETHOVEN * 2:21Tracks 30-34: 5 of 7 songs, rec. Karlaplansstudion, Stockholm 24.10.63, broadcasted Sveriges Radio 11.11.63. The complete 7 songs are available on various bootlegs. ("Stars Of '63" [TSP] or Yellow Dog YB 201). The order of track 33 & 34 was ex changed and John's ending words were cutted.

CD2: Total Time 57:31

1. SHE LOVES YOU * 2:502. TILL THERE WAS YOU * 2:543. TWIST AND SHOUT * 3:04Live Prince Of Wales Theatre, London 4.11.63, "Royal Variety Performance" with John's "Jewelry"-statement before "Twist And Shout". Songs (plus "From Me To You") are available on bootleg. Here in better quality.

4. THIS BOY * 2:225. I WANT TO HOLD YOUR HAND * 2:37 6. "BOYS, WHAT I WAS THINKING ...'' * 2:067. MOONLIGHT BAY * 0:50Tracks 4-7: rec. ATV Studios, Borehamwood, 2.12.63, broadcasted: UK-TV in "The Morecambe And Wise Show''. Track 6: Sketch Beatles with Ernie Wise & Eric More cambe, in the end they all sing track 7. Tracks 4 & 5 are NEW! Tracks 6 & 7 are on bootleg ("Pollwinners Go To Blackpool" + others)

8. CAN'T BUY ME LOVE (*) 2:10 Pathe Marconi Studios, Paris 29.01.64, mono(?) with cutted-in guitar solo from take 1. New in this kind. Take 1 in stereo with mis-playing in guitar solo was on "Ultra Ra re Trax 2"/"Unsurpassed Masters 7".

9. ALL MY LOVING * 2:19Live "Ed Sullivan Show'' USA CBS Televison Studio 9.02.64, was on various boot legs.

10. YOU CAN'T DO THAT (*) 2:42EMI Studios, London 25.02.64, Take 6, mono(?). NEW!

11. AND I LOVE HER (*) 1:52EMI Studios, London 25.02.64, Take 2, mono(?). NEW!

12. A HARD DAY'S NIGHT (*) 2:44EMI Studios, London 16.04.64, Take 1, mono(?).Take 1 (missing first few seconds) has been available as track 1 on the Yellow Dog "Ultimate Collection Box Vol. 3" CD2 "Studio Sessions, 1964" (YDB 302) as well as on the reissue CD "Studio 2 Sessions At Abbey Road Vol. 3" (YD 065). Wrong listed as take 2 on the bootlegs. The "real" take 2 is only 2 false starts.

13. I WANNA BE YOUR MAN 1:4814. LONG TALL SALLY 1:4515. BOYS 1:50Tracks 13, 14 & 16 are available on various bootlegs but only in mono, track 15 is NEW, it wasn't broadcasted! Also New: all songs in stereo! Noticeable is the loss of about 30 seconds of "Shout!". Some of George's and Ringo's parts are missing.

16. SHOUT 1:32rec. in IBC Studios, London 19.04.64 for tv special "Around The Beatles''. Track 13, 14 & 16 are available on various bootlegs but only in mono, track 15 wasn't broadca sted! New: all songs in stereo!

17. I'LL BE BACK (TAKE 2) (*) 1:13EMI Studios, London 1.06.64, Take 2, breakdown + studio chat, mono(?). NEW!

18. I'LL BE BACK (TAKE 3) 1:58EMI Studios, London 1.06.64, Take 3. NEW!Slight stereo ambitions.

19. YOU KNOW WHAT TO DO (*) 1:58EMI Studio Two, 3.06.64. George Harrison's 2nd song. This tape was re-discovered in 1993. Mono(?). NEW!

20. NO REPLY (DEMO) (*) 1:47EMI Studio Two, 3.06.64. Take 1, demo. This tape was re-discovered in 1993. Mo no(?). NEW!

21. MR. MOONLIGHT (*) 2:47 EMI Studios 14.08.64. Edit of take 1 & 4, mono(?). NEW!

22. LEAVE MY KITTEN ALONE 2:57EMI Studios 14.08.64. "Sessions"-remix, stereo

23. NO REPLY (*) 2:29EMI Studios 30.09.64. Take 2, mono(?). NEW!

24. EIGHT DAYS A WEEK (SEQUENCE) (*) 1:25EMI Studios 6.10.64. parts of takes 1, 2 & 4, false starts and not complete, mono(?). NEW!

25. EIGHT DAYS A WEEK (COMPLETE) (*) 2:47EMI Studios 6.10.64, Take 5, mono(?) NEW!

26. KANSAS CITY/HEY-HEY-HEY-HEY! 2:45EMI Studios 18.10.64, Take 2, stereo. NEW!

Anthology Part Two:1964-1967

A song analysis of the complete "Anthology I" album by E. Schwarz.First printed in fan mag "Beatlemania", issue 71.

"Die Erfolgsstory geht weiter", ließ die EMI wissen und hoffte, daß die Medien ähnlich wie zum ersten CD-Set der Anthology, der Sache massive Aufmerksamkeit widmen. Planmäßig wurde der Kampagne zweiter Teil aufgerollt. Phase 1: Etwa 1.500 Medienpartner erhielten eine Postkarte, die Single und Album ankündigen. Die Geschäfte konnten ab dem 4. März eine spe zielle Deko ordern. Bereits am 14. Februar ging der "Real Love" Clip auf Sendung per TV. Phase 2: Vom 15. bis 30. März wurden bundesweit etwa 500 Funk-Spots … 15 Sekunden geschalten.

"THE BEATLES ANTHOLOGY 2''

Veröffentlicht: weltweit Montag, 18. März 1996.2CD: Apple 7243 8 34448 2 3 (mit 48 S. Booklet), 2MC: Apple 7243 8 34448 4 7 3LP: Apple 7243 8 34448 1 6 (PCSP 727) (3-fach Foldout-Cover)

Das zweite Set enthält neben "Real Love", unveröffentlichte Aufnahmen der Fab Four der Jahre 1964 -1967, der berühmtesten Jahre der Beatles, in de nen Platten wie "Revolver", "Magical Mystery Tour" und vor allem "Sgt. Pepper's" entstanden. Produzent und Leiter des Projektes war wieder George Martin, zusätzliche Recherchen: Mark Lewisohn, Remix-Ingenieur: Geoff Emerick, Co ver: Klaus Voormann

Die eigentlich für den 18.2.1996 geplante Veröffentlichung wurde um einen Monat auf den 18.03. verschoben. Paul (mit oder ohne die anderen?) änderte kurzfristig die Titelreihenfolge. "I'm Down" wurde von Platz 6 auf Platz 3 verlegt, Nr 3, 4, 5, rutschten jeweils eine Nummer weiter. Das Ganze kostete die EMI etwa œ 500 (ca. 1,2 Mio DM), da bereits 250.000 CD-Booklets gedruckt und auch schon die ersten CDs gepreßt waren. Trubel um die Veröffentlichung war diesmal nicht sehr groß, inmanchen Läden (Kaufhof) stand die DoCD schon Freitag Nachmittag (15.3) im Regal. Der Verkauf lief diesmal sehr schleppend an, da der Durchschnittshörer wohl noch vom Schaden, den die "Anthology 1" angerichtet hat bedient war...

CD 1: Total Time 63:35 (LP 1 side 1)

1 REAL LOVE 3:54 stereo NEUUnverbootlegtes John Lennon Piano-Demo mit Drum Machine und 2. Vocal-Overdub, aufgenommen auf Cassette ca. 1979 in New York, bearbeitet Februar 1995 in Sussex von Paul McCartney (ac-g), George Harrison (ac-g, ld-g), Ringo Starr (dr), gleiche Version wie auf der Single

2 YES IT IS 1:50 stereoEMI Studios, London, 16 February 1965breakdown of take 2 (John's guide vocals) edited (ca. at 1:02) with a new remix of take 14 Die rohen, ungemixten Takes findet man auf Yellow Dog-Veröffentlichungen: take 2 (1:09 breakdown) auf "Unsurpassed Masters Vol. 2" (YD 002), take 14 (2:55 w/chat) auf "Unsurpassed Masters Vol. 7" (YD 013) bzw. beide auf "Ultimate Collec tion Vol. 3" (YDB 3001/4) CD3 "Studio Sessions 1965-1966"(YDB 303) und auf RI-- CD "Studio 2 Sessions At Abbey Road, Vol. 4" (YD 066)

3 I'M DOWN 2:54 stereo NEUEMI Studios, London, 14 June 1965intro chat Paul: "Lets hope this one turn's out pretty darn good, ha." (0:04), complete take 1 (2:37), outro chat Plastic "plastic soul man, plastic soul..." (0:13), unbooted!

4 YOU'VE GOT TO HIDE YOUR LOVE AWAY 2:45 mono NEU EMI Studios, London, 18 February 1965John count-in (0:02) & take 1 false start (0:03), John studio chat & count-in for take 2 (0:22), complete take 5 (2:18), unbooted!

5 IF YOU'VE GOT TROUBLE 2:48 stereoEMI Studios, London, 18 February 1965 eveningHelp!-Album Outtake, Ringo vocals, unedited Version, scheint etwas remixed, sonst wie auf CD "Unsurpassed Masters Vol. 2" (YD 002), aber dort Channels reversed

6 THAT MEANS A LOT 2:26 stereoEMI Studiosy, London, 20 February 1965take 1, Help!-Album Outtake, vergl. CD "Unsurpassed Masters Vol. 2", und "Ses sions"

7 YESTERDAY 2:34 stereo NEUEMI Studios, London, 14 June 1965Paul studio chat instructing chord changes to George (0:30), complete take 1 (2:04) ac-g, unbooted

8 IT'S ONLY LOVE 1:59 mono NEUEMI Studios, London, 15 June 1965John's false start (0:02), complete take 2 (1:57) - John: voc & ac-g, + bass, dr; unboo ted!

(LP 1 side 2)

9 I FEEL FINE 2:15 mono10 TICKET TO RIDE 2:45 mono 11 YESTERDAY 2:43 mono

12 HELP! 2:54 mono 9-12: ABC Theatre, Blackpool, 1 August 1965Titel teilweise mit An- und Absagen, ein Schnitt ist nach Titel 9, die anderen drei Titel sind zusammenhängend: Das Konzert wurde live in der britischen TV Show "Blackpool Night Out" gesendet. Gab's komplett (6 Songs) auf 2CD "The Beatles Live In United Kingdom 1962-65" (Bulldog Recs. BGCD 11112) bzw. sogar mit Intro und "Oh I Do Like To Be Beside The Seaside" auf CD "Pollwinners Go To Blackpool" (M-Beat Music MBCD 001) bzw. CD "Live On Britisch Televison 1964/1965" (Invasion Unlimited IU 9544-1)

13 EVERYBODY'S TRYING TO BE MY BABY 2:46 mono NEUShea Stadium, New York, 15 August 1965 George Intro 0:23, 2:17, applause 0:06, Die Aufnahme entstammt dem Soundtrack des ungeschnittenen Filmmaterials für den TV-Film "The Beatles At Shea Stadium" (BBC TV 1 March 1966), unheard & unbooted!

14 NORWEGIAN WOOD (This Bird Has Flown) 1:59 stereoEMI Studios, London, 12 October 1965 take 1: John - ld-voc, occasionally double tracked; Paul & John - backing voc, George - sitar; + ac-g, finger cymbals, maracas, bass; etwas remixed, vergleiche "Ultra Rare Trax Vol. 3"(Swingin' Pig TSP-CD-025) & "Unsurpassed Masters Vol. 2" (YD 002))

15 I'M LOOKING THROUGH YOU 2:54 stereoEMI Studios, London, 24 October 1965take 1 etwas remixed, vergleiche "Ultra Rare Trax Vol. 1"(Swingin' Pig TSP-CD-001) & "Unsurpassed Masters Vol. 2" (YD 002) und "Sessions"

16 TWELVE BAR ORIGINAL 2:55 stereo bekanntEMI Studios, London, 4 November 1965count-in 0:02, edited to 2:54 from take 2 (6:36), complete Take 2 in roher Form, aber schlechterer Qualität auf CD "Hodge Podge" (Black Dog BD 001) und CD "Arrive Without Aging" (VigOTone VT-6869), take 2 remixed auf CD "Acetates" (YD 009), diese Version ist noch etwas anders remixed

(LP 2 side 1)

17 TOMORROW NEVER KNOWS 3:14 stereoEMI Studios, London, 6 April 1965 NEU Studio chat 0:05, take 1, recorded under working title "Mark I", notably different ver sion, unbooted.

18 GOT TO GET YOU INTO MY LIFE2:54 mono NEUEMI Studios, London, 7 April 1965 Take 5 w/several overdubs, notably different version, ein Ausschnitt (0:22) lief über Abspann der letzten TV-Folge, unbooted!

19 AND YOUR BIRD CAN SING 2:14 stereo NEUEMI Studios, London, 20 April 1965

John count-in (0:02), take 2 ('giggling') w/several overdubs, notably different version, ein Ausschnitt (1:30) lief als Abspann der TV-Anthology pt. 3

20 TAXMAN 2:32 stereo NEUEMI Studios, London, 21 April 1965 George count-in (0:04), take 11 w/ clean full ending and different backing vocal "any body got a bit of money?" instead of "Mr.Wilson, Mr. Heath"

21 ELEANOR RIGBY 2:06 stereo NEUEMI Studios, London, 28 April 1965Take 14, Intstrunetal, double string quartett on ly, conducted by George Martin, no Beatle involved, new remixed 1995

22 I'M ONLY SLEEPING 0:41 mono NEU EMI Studios, London, 28 April 1965 Instrumental rehearsal w/vibraphone + ac-g & bass, incomplete, only final minute sur vived, rest was overtaped by new takes, unbooted!

23 I'M ONLY SLEEPING 2:59 mono NEU John "I'm Only Sleeping take 1" 0:03, take 1 (256) in mono, because it was taped that way, John & Paul joint vocals, ac-g + simp le percussion.

24 ROCK'N'ROLL MUSIC 1:39 mono25 SHE'S A WOMAN 2:55 mono24 & 25: Nippon Budokan Hall, Tokyo, 30 June 1966 eve "dark suits" concert; komplett (11 songs) erhältlich auf unzähligen Bootleg-CDs (bwpw. "Five Nights In A Judo Arena" (TSP CD 011) oder "Live In Ja pan 1964" DR 002) vom Vinyl ganz zu schweigen sowie in sehr guter Videoqua lität auf japanischer Laser Disc...

CD 2: Total Time 64:19 (LP 2 side 2)

1 STRAWBERRY FIELDS FOREVER 1:42 mono"Kenwood", Weybridge, Surrey, November 1966John's ac-g demo sequence, recorded alone in his house breakdown 0:22, chat 0:04, demo 1:16 vgl. CD "Arrive Without Aging", dort länger

2 STRAWBERRY FIELDS FOREVER 2:34 stereoEMI Studios, London, 24 November 1966take 1, alternative lyrics, remixed, vgl. CD "Unsurpassed Masters Vol 3"

3 STRAWBERRY FIELDS FOREVER 4:14 mono EMI Studios, London, 29 November 1966take 7 (complete) mono RM3 + "wild drum track" edit piece w/John muttering "cran berry sauce" at end remixed, vgl. CD "Ultra Rare Trax Vol 6" und edited

4 PENNY LANE 3:13 stereo NEUEMI Studios, London, 29 & 30 December 1966, 4, 5, 6, 9, 10, 12 & 17 January 1967created using various takes; unique combination of the many different takes and sounds, new remix from a 24 track tape

5 A DAY IN THE LIFE 5:04 stereoEMI Studios, London, 19 & 20 January & 10 February 67created using various takes, opening talk, alarm clock & John muttering "sugar plum fairy, sugar plum fairy" are from take 1 (19.02.67), main body is from take 2 (20.02.67), after the counting - mono guide vocal from Paul, overdub to take 6 (10.02.67), then take 2 returns leading into new remix of orchestra, Paul talking ist from one of four tapes of ambient studiosounds (10.02.67) Remixed und editet, vgl. take 6 auf CD "Acetates" (YD 009) und PPortion von take 1 auf CD "Arrive Without Aging" vom TV-Special "The Making Of Sgt. Pepper"

6 GOOD MORNING, GOOD MORNING 2:40 stereoEMI Studios, London, 8 & 16 February 1967 NEUtake 8 basic track (8.2.) w/John's ld-voc (16.2.67) added.

7 ONLY A NORTHERN SONG 2:44 stereo NEUEMI Studios, London, 13 & 14 February & 20 April 1967take 3 basic track, sligthly speeded up with bass & g added (20.04.67) with new vocals overdubbed to seperate "reduction" from take 12 (LP 3 Side 1)

8 BEING FOR THE BENEFIT OF MR. KITE 1:06 stereo NEUEMI Studios, London, 17 February 1967takes 1 breakdown, take 2 breakdown w/Paul offered directions to John

9 BEING FOR THE BENEFIT OF MR. KITE 2:33 stereo NEUEMI Studios, London, 17 & 20 February 1967take 7 w/near end org and & effects from 20.02.67, clearer on this new mix.

10 LUCY IN THE SKY WITH DIAMONDS 3:06 stereo NEUEMI Studios, London, 1 & 2 March 1967new mix of basic take 6 (1.03.67) with tamboura from take 7 (1.03.67) vocals (2.03.67) from take 8, a "reduction" from take 7 w/vocal overdubs

11 WITHIN YOU WITHOUT YOU 5:27 stereo NEUEMI Studios, London, 15, 16 & 22 March & 3 April 1967master instrumental w/o George's vocals, new remixed, a w/bunch of Indian in struments w/George's sitar overdub from (3.04.67)

12 SGT. PEPPER REPRISE 1:27 mono NEU EMI Studios, London, 1 April 1967basic take 5 w/Paul's guide vocals

13 YOU KNOW MY NAME (Look Up the Number)5:44 stereo NEUEMI Studios, London, 17 May & 7, 8 June 1967 & 30 April 1969 master take with Lennon's edits newly restored, Brian Jones on saxophone

(LP 3 side 2)

14 I AM THE WALRUS 4:02 stereoEMI Studios, London, 5 September 1967basic Take 16 w/different intro, no backing vocal vgl. CD "Acetates" (YD 009)

15 THE FOOL ON THE HILL 2:48 monoEMI Studios, London, 6 September 1967Piano/vocal demo, vgl. CD "Ultra Rare Trax Vol. 1" & CD "Acetates"

16 YOUR MOTHER SHOULD KNOW 3:02 stereoEMI Studios, London, 16 September 1967 NEUtake 27, marked "best" temporarily

17 THE FOOL ON THE HILL 3:45 stereo NEU EMI Studios, London, 25 September 1967take 3 (24.09.67) "bounced down" to take 4 w/recorde, dr & Paul's ld-voc were added

18 HELLO GOODBYE 3:18 stereo NEUEMI Studios, London, 2 & 19 October 1967take 16 (a "reduction" of basic take 14 (2.10.67) with voc & more guitars added

(19.10.67) 19 LADY MADONNA 2:22 stereo NEU EMI Studios, London, 3 & 6 February 1968new remix of some differnt takes, encompassing basic take 3 (basic take of piano & dr w/overdubs of g, bass voc and more dr, 302.68) and a "reduction" of this called take 4 with overdubs (sax) from 6.02.68

20 ACROSS THE UNIVERSE 3:28 stereo EMI Studios, London, 3 February 1968alternate take 2, ein Stück davon lief in der TV-Anthology, vgl. CD "Control Room Monitor Mixes"(YD 032)

"The Beatles Anthology"

The History and current Status of The Beatles' version of their story.

(c) Copyright 1995 by Ed Chen ([email protected]) and saki ([email protected])

The authors retain all copyright rights to this file -- It may be freelydistributed in its entirety provided that this copyright notice is not

removed. Selling of this text, including incorporation into anycommercial documents without the express written consent of either of theauthors is strictly forbidden by law.=============================================================================

Last Update: November 1, 1995.

Background

The project began at some unspecified time in the early 1970's as "The Longand Winding Road," a film chronicling the story of the Beatles. Despite areasonably finished rough cut of the film by Neil Aspinall (which supposedlyheavily influenced the parody version "The Rutles"), personal andprofessional problems kept the project unreleased.

In the interim, some of the same footage from "L&WR" was located and used byother producers in projects such as "The Compleat Beatles (1981)," one ofthe most complete versions of the Fabs' history on film or video.

However, much additional footage remained, and Neil Aspinall (through AllanKozinn reports that there was "much rarer footage" which had yet to see thelight of day.

After the final settlement of the lawsuits between the remaining bandmembers in 1989, the general concept of a filmography was one of the firstprojects to be revived.

The Development of "The Beatles Anthology"

To accompany the film; Paul, George and Ringo went into the studio together.The original intent was to record some incidental music for the project.When they decided to go beyond that limited scope, they agreed that theyneeded some Lennon "input" to truly make this a Beatles project. Yoko Onoagreed, and the day after Lennon's induction into the Rock and Roll Hall ofFame, she provided the band with a tape containing Lennon demos in variousstages of completion. Using these demos as inspiration, the Beatles builtupon Lennon's preexisting melodies and lyrics, adding harmonies, fullinstrumentation, and in at least one case ("Free as a Bird") additionalverses.

After discussion, they eventually chose to complete three: "Free As A Bird""Real Love" and one other Those songs were scheduled for completion by thethree in February '94, February '95, and Fall '95 (respectively) with JeffLynne producing. George Martin was not invited to participate in theproduction of the new tracks because of questions concerning his hearing.Martin is still involved, adding his historical input and productionknowledge to the archival material for the audio "Anthology."

Although the third track was widely reported to be "Grow Old With Me," in aninterview with NYT columist Allan Kozinn, Paul McCartney claimed the thirdsong was a previously unheard Lennon demo (of which McCartney sang a verseto Kozinn), and that there was still a strong possibility that the tunewould not be finished.

To preserve the "vintage" sound of the tapes, George Martin insisted on alate-1960's / early-1970's analogue mixing board rather than modern digitalequipment. This and other "Anthology" facts are revealed in an interviewwith Martin in the October issue of the British industry magazine "StudioSound."

The Video Concept

On the video front, hundreds-to-thousands of hours of footage have beenviewed in preparation of the project. After one of the first screenings ofthe (edited) material for the Beatles, George Harrison commented to a radioreporter on the first two hours with the statement that "At the end of it,Pete Best hadn't even joined the band yet."

The final project will consist of six hours of commercial airtime (fivehours of program content) to be aired around the world (in the States onABC-TV) beginning in November 1995, according to a network affiliate.

Additional footage will be incorporated into ten hours of video, intendedfor sale in mid-1996 as individual and late-1996 as collective videohistories. The producers of the project have been adamant to state that thevideos will not simply be "an expanded version of the television series,"according to Apple Spokesman Derek Taylor.

In addition to archival material, the Beatles, George Martin, Neil Aspinall,

and Derek Taylor have all steadily been filming interviews, which will beliberally sprinkled throughout the project. As perhaps a subtle commentary,one of the locations where interviews were performed was Portmeiron, asmall, architecturally interesting community perhaps best known as the siteof the television series "The Prisoner."

When Will It Be Aired?

The series will be airing in the US on ABC as three two-hour specials,November 19,22, and 23. It will be airing in Britain on ITV, also beginningNovember 19, but the rate of an hour a week from then until Christmas Eve.

Short, 5-10 second mini-promos have begun appearing on ABC, touting theNovember 19 start date. "Beatlefan/Extra" reports the network will launchtheir major advertising push the first week in November. Planned is a majormedia blitz, including ads over radio, television, print, movie theatres,and such eclectic places as the New York City "Sony Jumbotron" andTicketmasters' national "on hold" line. These advertisements are expected tofeature major ABC entertainment personalities.

Capitol has arranged for a satellite broadcast of "Free As a Bird" to bedone the night of November 19. This will allow radio airplay to begin almostimmediately, possibly increasing initial chart position of "Anthology."

In 1996, separate and collective videos will be available in an expandedformat, and will be on sale at video stores in the U.S. and the UK.

Advertising Plans

Capitol records and ABC are clearly planning for Anthology to be the majorevent of this Christmas. Beyond the $20 million the network paid to Applefor rights to "Anthology," they have earmarked an additional $30 million forpromotion and advertising. As part of the agreement, ABC was given exclusiverights to the first airing of "Free As A Bird" on November 19,1995. It willbe available for sale as part of the first double CD set to accompany the"Anthology" project, on November 21.

ABC is charging advertisers roughly $300,000 per 30-second commercial, andthe current rumor (from Forbes magazine) is that all spots for all three

nights have been sold.

Meanwhile, Capitol has hired Steve Chamberlain away from TurnerEntertainment to handle the musical end of "Anthology" promotion. Appleplans are for this project to have new releases over a 15-month period oftime, and sell product through this and next Christmas. According to"Beatlefan" magazine, Chamberlain has promised a "massive reintroduction ofthe Beatles." This "reintroduction" will include heavy promotion on MTV andVH1 to attract "that younger demographic." This will inevitably lead to a"Free as a Bird" video, which is reportedly in the planning stages, with Onodeciding how, or if, Lennon will be represented.

Capitol has announced it will be opening a website for anthology promotion,probably similar to their "Live at the BBC" web page of last year.

Beatlefan/Extra! reports the slogan to be used in all advertising for"Anthology" will be "You haven't heard everything yet."

The first round of promotional material, including posters, banners, flyers,buttons and other such items are expected in stores on October 24.

Video Samples

Apple has provided a 10-minute "sampler" to stations which have purchased"Anthology." This promo and a somewhat longer one have been seen by localaffiliates, and they as well as a number of other reputable sources(Beatlefan, Beatles Monthly) report that it will include:

* A colorized version of "All You Need is Love" from the "Our World" broadcast. * Color footage of the Beatles in studio, ca. 1968 * 1963 color home-movie footage * Unseen footage from the "A Day In the Life" promo film * Very clean excerpts from the promo films * Interview clips (both individual, and as a threesome * The Lennon clips came from his "Tomorrow" show interview * Magical Mystery Tour outtakes

CD/LP Release Schedule

The first CD set will be made available on November 21, a Tuesday, two daysafter the "FaaB" world premiere. The need for confidentiality on "FaaB"forces "Anthology I" to break with tradition in several ways. Discs areusually shipped to retailers the previous week, and put on sale on Tuesday.Captiol's original plan was to use a US overnight courier to ship upwards of

2 million CD's and cassettes to CEMA (Capitol's distribution wing) outletsimmediately after the Sunday airing of "FaaB", and Billboard and CEMA reportthat sales will begin on Tuesday. However, the San Francisco CEMArepresentative reports that plan has been altered because of the impending"logistical nightmare." It is now expected that the discs will go to CEMAoutlets on Saturday, but that armed security will protect all product beforeit is delivered to retailers after the Sunday night premiere of "FaaB."

Long-time Beatle friend Klaus Voorman is the artist chosen to do the coverfor the first "Anthology" CD's. The preview tapes sent to reviewers will notinclude "Free as a Bird."

The cover for the first "Anthology" CD-set has been released, and publishedin places such as the LA Times and USA Today. The cover consists of acollage of photos and follows the previously announced plan that the threecovers placed side by side will create a single "meta" cover.

"Beatlefan/Extra" reports that the CD artwork will be replicated on thefront covers of the videos, but divided into eight parts. The spines of thevideos will join to create yet another illustration, this time of the bandon the Ed Sullivan show.

In addition to the CD, singles from the project are planned, each likely toinclude 2-3 songs unique to the CD-single format. Allan Kozinn reports anedited version (3-4 minutes) of "Christmastime is Here again" will likely beone of those tracks.

Capitol has released the track listings for the first "Anthology" volume,and here they are as they appear on that press release:

``THE BEATLES ANTHOLOGY I'' TRACK LISTING

Compact Disc One

1. FREE AS A BIRD

A new recording featuring John, Paul, George, and Ringo.

2. WE WERE FOUR GUYS...

John Lennon spoken-word comment.

3. THAT'LL BE THE DAY

Previously unreleased rare Quarry Men recording of the Buddy Holly songmade in 1958.

4. IN SPITE OF ALL THE DANGER

Previously unreleased rare Quarry Men recording of a Paul McCartney/GeorgeHarrison composition from 1958.

5. SOMETIMES I'D BORROW...

Paul McCartney talking about recording at home in 1960.

6. HALLELUJAH, I LOVE HER SO

Previously unreleased home recording from 1960 of the Eddie Cochran versionof the song.

7. YOU'LL BE MINE

Previously unreleased home recording from 1960 of a Paul and John song.

8. CAYENNE

Previously unreleased home recording of an instrumental written by Paul.

9. FIRST OF ALL...

Paul talking about recording in Hamburg.

10. MY BONNIE

Recorded in Hamburg in 1961 with Tony Sheridan. (German intro)

11. AIN'T SHE SWEET

Again recorded in Hamburg in 1961. Features vocals by John Lennon.

12. CRY FOR A SHADOW

This Harrison-Lennon instrumental was also recorded in Hamburg in 1961.

13. BRIAN WAS A BEAUTIFUL GUY

John talking about Brian Epstein.

14. I SECURED THEM...

Brian Epstein recalling the Decca audition, reading from his book ``ACellarful Of Noise.''

15. SEARCHIN'

The first of five tracks taken from their failed Decca audition on 1stJanuary, 1962. All previously unreleased. This was originally recorded by

The Coasters.

16. THREE COOL CATS

George Harrison handles the lead vocal on this Leiber-Stoller track, againoriginally recorded by The Coasters.

17. THE SHEIK OF ARABY

Another George Harrison vocal with Paul and John ad-libbing.

18. LIKE DREAMERS DO

Later a hit for The Applejacks, this is the original Beatles version ofthis Lennon-McCartney song.

19. HELLO LITTLE GIRL

Another early Lennon-McCartney composition rounds-off the five Deccatracks. This track was later a hit for The Fourmost.

20. WELL, THE RECORDING TEST...

A further extract from Brian Epstein's book, ``A Cellarful Of Noise.''

21. BESAME MUCHO

This and the following track were recorded during The Beatles' first visitto Abbey Road in June 1962. Neither has been previously released.

22. LOVE ME DO

Like Besame Mucho, this track features John, Paul, and George with PeteBest on drums. This is the first EMI version, never released, of TheBeatles' first single.

23. HOW DO YOU DO IT

Recorded on 4th September 1962, this track has remained unreleased untilnow. The song was later recorded by Gerry and the Pacemakers and becametheir first No. 1.

24. PLEASE PLEASE ME

An earlier version of the group's second single. This recording dates from11th September, 1962. Previously unreleased.

25. ONE AFTER 909 (SEQUENCE)

Recorded during the ``From Me To You'' sessions on 5 March 1963, thissection features segments of three incomplete takes.

26. ONE AFTER 909 (COMPLETE)

This is a complete 1963 version of the song that The Beatles wouldre-record six years later for ``Let it Be.''

27. LEND ME YOUR COMB

A BBC recording of a song originally recorded by Carl Perkins.

28. I'LL GET YOU

A live recording from The Beatles' first appearance on the TV show ``SundayNight At The London Palladium.''

29. WE WERE PERFORMERS...

John recalls early live performances.

30. I SAW HER STANDING THERE

This and the Following four tracks were recorded live for Swedish radio inOctober 1963. This track was the opening song on their first album.

31. FROM ME TO YOU

Paul introduces a performance of their third single.

32. MONEY (THAT'S WHAT I WANT)

This and the following two tracks were taken from the then Forthcoming LP``With The Beatles.''

33. YOU REALLY GOT A HOLD ON ME

John introduces this number by The Miracles.

34. ROLL OVER BEETHOVEN

George takes vocals for the last track from this radio session. The song isa Chuck Berry classic.

CAPITOL PART 2 CAPITOL RECORDS RELEASES 'THE BEATLES ANTHOLOGY I' TRACK LISTING

Compact Disc Two

1. SHE LOVES YOU

An excellent live performance taken from the 1963 Royal CommandPerformance, previously unreleased.

2. TILL THERE WAS YOU

Introduced by Paul, this also is from the 1963 Royal show.

3. TWIST AND SHOUT

Finally it was up to John to introduce their closing number. ``And the rest

of you, if you'll just rattle your jewelry.''

4. THIS BOY

First of two songs from ``The Morecambe And Wise Show,'' recorded inDecember 1963, Recorded live and previously unreleased.

5. I WANT TO HOLD YOUR HAND

Having performed the ``B'' side of their current single they then alsoperformed the `À'' side.

6. ``BOYS, WHAT I WAS THINKING...''

Ernie Wise then introduced The Beatles to Eric Morecambe and there followedsome good-humored banter between Eric and the boys.

7. MOONLIGHT BAY

``Television history'' is how Ernie introduces it - Morecambe And Wise andThe Beatles together.

8. CAN'T BUY ME LOVE

This is take 2 which was recorded in Paris in January 1964. It features adifferent lead vocal, guitar solo and backing vocals to the finallyreleased version.

9. ALL MY LOVING

The first song performed by The Beatles during their legendary firstappearance on ``The Ed Sullivan Show'' in the USA.

10. YOU CAN'T DO THAT

An earlier take of a song that became the ``B'' side to ``Can't Buy MeLove'' and appeared on the `À Hard Days Night'' album.

11. AND I LOVE HER

This is the second take of the song that later became a gentle ballad.This features a heavier sound including drums and picked electric guitar.

12. A HARD DAY'S NIGHT

This is take 1 from the sessions that produced the master and is notablydifferent to the finally released version.

13. I WANNA BE YOUR MAN

This and the next three tracks are taken from studio recordings that wereprepared for the 1964 television special `Àround The Beatles''. All havebeen lifted from the studio master and are presented here in stereo. Ringo

handles vocals of this track, ably assisted by an enthusiastic Paul.

14. LONG TALL SALLY

A blistering vocal performance from Paul of the Little Richard classic.

15. BOYS

Although recorded for the show, this track was never broadcast. Ringoperforms his solo spot from the group's debut album.

16. SHOUT

A very rare performance of The Isley Brothers' original R&B hit.

17. I'LL BE BACK (TAKE 2)

An early version of the song From "A Hard Day's Night'' album, but sung ina different tempo.

18. I'LL BE BACK (TAKE 3)

Only the next take but now sounding very different.

19. YOU KNOW WHAT TO DO

The first-ever release of George Harrison's second-ever song, from June1964. The tape was lost and rediscovered only recently.

20. NO REPLY (DEMO)

Recorded the same day as ``You Know What To Do'' as a demo.

21. MR. MOONLIGHT

Similar to the version on ``Beatles For Sale'' but an earlier take with aguitar solo instead of the familiar organ.

22. LEAVE MY KITTEN ALONE

Never before released in any form by The Beatles, this is a great groupperformance of an R&B classic originally recorded by Little Willie John.John Lennon on vocals.

23. NO REPLY

Take 2 of the remake of the song from September 1964. Not yet finished butnearly.

24. EIGHT DAYS A WEEK (SEQUENCE)

Some false starts and experimentation for the ``Beatles For Sale'' trackand U.S. single.

25. EIGHT DAYS A WEEK (COMPLETE)

A complete version which starts and ends very differently to thecommercially released version.

26. KANSAS CITY/HEY-HEY-HEY-HEY!

This is take two of the track that also appears on ``Beatles For Sale.''

The Molyneaux home recording from the afternoon Lennon met McCartney hasreportedly been nixed from the first set as impossible to bring up toanywhere near acceptable sound quality, according to New York Times musicwriter Allan Kozinn.

This tape, made on July 6, 1957, captures Lennon and the Quarry Men singingElvis Presley and Lonnie Donegan covers. When asked, Apple spokesman DerekTaylor did not even know what had become of the tape. However, it is knownthe tape is still in the archives, and some restoration work has been doneto it. Allan Kozinn heard a cleaned up version of the tape, and found thesound quality appalling.

"The Beatles Monthly" quote McCartney describing Harrison's heretoforeunreleased "You'll Know What to Do" with "It's not the greatest thing Georgeever wrote, but it's an undiscovered nugget. If you find a little Egyptianpot, it doesn't have to be the greatest Egyptian pot. The fact that it isEgyptian is enough."

The London Observer reports that the collection will also be available as anine-record LP set.

Rumored

The second and third volumes of "Anthology" CD's are expected in January1996, and "late spring" of 1996 respectively. No track listings are known,but it is thought set two will cover the years 1965-67, and set three1968-70.

Beatlefan/Extra! reports a tentative track list for the second set, althoughno source is given for this information.

Real Love (new original tune)Yes It IsYou've Got To Hide Your Love AwayEverybody's Trying to Be My Baby (Shea)She's a Woman (Shea)

Norwegian WoodI'm Looking Through YouTaxmanPenny LaneBeing for the Benefit of Mr. KiteLucy in the Sky With DiamondsWithin You Without YouYesterday, take I (confirmed by McCartney on "Oobu Joobu")And Your Bird Can Sing ("easygoing")If You've Got Troubles (unreleased L/M song, Starr singing lead)Granny Smith (early "Love You To" demo)Twelve Bar OriginalThat Means a LotMagical Mystery Tour (film version)Strawberry Fields Forever (excerpts of:)-- Lennon demo-- take 1-- take 7-- "a bit of the (Cranberry Sauce) drum track"I'm Only Sleeping (alternate, take unknown)Getting Better (alternate, take unknown)I've Got a Feeling (alternate, take unknown)Lucy In the Sky With Diamonds (alternate, take unknown)Think For Yourself (alternate, take unknown)A Day in the Life (created, Lennon demo + McCartney's "oh shit" middle)Yellow Submarine ("Lands End to John o'Groats spoken intro + remixedversion)Lady Madonna

And tentatively for the third disc:

Esher Demos (possibly as many as 6-7 tracks)Hey JudeCan You Take Me BackWhile My Guitar Gently Weeps (acoustic)Dear PrudenceHelter Skelter (possibly the whole, but more likely an edit of the longversion)Across the UniverseNot GuiltyGoodbye (McCartney Demo)Yer Blues (alternate, take unknown, not "Rock 'n Roll Circus" version)

Both the audio CD's and the videos will be released in a boxed set as wellas individually. The Box set may include additional material not on thesingle CD's. Capitol executive VP Bruce Kirkland is quoted in "Beatlefan" assaying that this (possible bonus tracks) is "not a strategic commercialdecision," but is instead only about "the Beatles telling their own story."He did indicate that it is possible the CD boxed set may be "somethingaltogether different," and "a totally separate work." (from the individualCD's)

Allan Kozinn reports there will not be any crossfades in the first

"Anthology" disc, although that decision was for commercial (radio-airplay)reasons rather than consumer-oriented ones.

Capitol is considering taking a hint from bootleggers by including "uniqueitems" in the audio and video box sets, possibly reproductions of vintagepaper memorabilia (ie: softback books or magazines), a CEMA source hasrevealed.

"Anthology" Accessories

Of the ancillary side, the following items have also been announced to goalong with the video and CD's, according to Capitol Records:

* A 26-week radio series, integrating the unreleased material with familiar material, fleshing out "the Beatles by the Beatles" in a way which only such a large number of hours could accommodate. (1996) * A mass-market hardcover book, including text of the interviews in "Anthology," other interviews not included in the series, and both rare and familiar photographs from the Beatles collection (1996). * A limited edition very high quality book by Genesis Publications. Keeping with Genesis tradition, this will likely include autographs from Paul, George, Ringo, and George Martin, as well as a limited edition CD including even more audio material not available anywhere else. (1996) * Apple and Capitol have planned to rent space in major shopping malls across the country, to be used as "Beatles kiosks," (as Steve Chamberlain told "Good Day Sunshine"), selling both "Anthology" items as well as other licensed merchandise.

Publicity from the Fabs

Finally, in the "the-more-things-change, the-more-they-stay-the-same"department, expect the three former Beatles not to appear together in anypublicity. Harrison has expressed a desire to do no publicity at all for theproject, and McCartney and Starr may follow his lead. Neil Aspinall isquoted as saying "There is no need for appearances by myself or the formerBeatles. Publicity (for the project) will 'just happen.'"

analisis anthology

Documents

sugar plum

strawberry

es muy buena

guitar gently

john lennonpaul

unsurpassed

jerry leibermike

son muy diferentes