Beatles (5/Cd) One Down Six To Go Vol 1

 Beatles (5/Cd) One Down Six To Go Vol 1
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 Beatles (5/Cd) One Down Six To Go Vol 1

■ Ultimate set including many first appearance sound sources that have never been recorded anywhere. ■ It is longer than the previous episode, including those that are recorded for the first time in an unedited manner.

Sargent Peppers was announced in June 1967. There was a sign that the bud of the hippie movement was bloomed in all fields until now, but it was nothing other than the Beatles’ Sargent Peppers, which was recognized as a psychedelic social phenomenon in earnest. In addition to being a bold, it is also recognized as a masterpiece even in the modern era after half a century since the announcement, as a symbol of that era. Is it under the influence of drugs, esoteric lyrics in which metaphor is interspersed, fancy tune with glitteriness? None of them made me feel the new musicality of the Beatles different from the past. The result of resigning from all the live activities and concentrating on the studio work was fruited as a concept album collecting the styles of such studio technology at the time.

As an album concept, a fictitious band led by Sergeant Pepper is going to show, and entertainers starting from the hustle and bustle of the audience, entertainers appearing one after the other, have become the trend of ending like ending and reckless encore. However, it is not necessarily all songs recorded along this concept by listening to “Lovely Rita”, “When I’m Sixty Four”, “Within You Without You” and so on. Roughly speaking, it can be said that songs interposed between them are irrelevant, since only the first few songs and reprints are consistent with the concept. If we mention the concepts that seem to be concepts, it might be in a tune that covers the whole, a tone that has undergone complex work. Such an atmosphere can be felt as a scent remaining in the next magical. To put it briefly, the symbol embodying the psyched world view and fixing it in the era is the concept of this album. The album was released in June 1967, but the recording began around December 1966. Since the last tour is August, it is a recording after taking a three month vacation. Considering that you are recording “revolver” from April to June, you can visit and know how high the creative motivation of this time was during the tour. This work is the title which recorded the recording session of this album “Sargent · Peppers”. This work is Vol.1.

【STRAWBERRY FIELDS FOREVER】 It is recorded as a series of recording sessions since it is recorded at the same time as Sargent’s song, with one song on both sides A released in single. The release is to advance the album in February 1967. It is not unusual that many identical takes-ups remain from the demo stage until completion. It is such a complicated and proof that John repeatedly refined. The demonstration sound source which was originally titled “It’s not Too Bad” was recorded in Spain during the filming of the movie “How I Won The War” in October 1967. The skeleton of the song has already been completed, and that beautiful melody stands out with such a simple performance. Then in November 1966 changed the place to Kenwood’s home, and demonstration sound sources were recorded by electric guitar. Although the lyrics are somewhat different, they are almost completed, and the vocals are also recorded in double tracks. As in the final version, it is still earlier that it will start with “Let Me Take You Down ♪”. It is interesting that the disc 1 tracks 22 and 23. It shows the trial and error situation of Merotron introduced as a new attempt. In order to find out how to use it effectively, it seems that you are trying various sounds like Puwa ~.

This was a demonstration sound source by John alone, but since November 24, 1966 he finally entered the studio and entered full-fledged recording with engineers and others. Initially it is a melody of mellow tones and it is a song feeling. At this time, recording has been intensively done at the end of November, and you can see how the songs are completed rapidly. In December, recording continued, and on December 8, 1966, for the first time, George Martin ‘s hands recorded orchestral string instruments. It is hard thing that impression has changed completely from what was originally made by Melotron. Until then, I had arranged arrangements using Merotron, but John had a huge impression, and he would have asked Martin a completely different orchestration. The disc 1 track 46 was the first song to be played by this orchestra. Not only did it become up-tempo, but John’s singing turned into a rock style. After this, recording stopped Merotron for a while and the orchestration was backed up. In the latter half of the recording we made a hard song that introduced the orchestra, which was a slow melody at the beginning of Melotron. Trying John, neither of them can be thrown away. Then I make a suggestion to Martin. “Give me two versions.” The result is an acetate sound source which combines take 7 and take 26 recorded on the disk 2 track 5.

【PENNY LANE】 Both sides of Strawberry Fields and Penny Lane are the strongest couplings in history and are rare combinations where John and Paul’s talent explodes at the same time at the same time. It fulfills the feeling of fulfillment as if you finished listening to the album with just these two songs. Paul played this song on a piano, whereas strawberry fields were made with guitar. Disk 2 Track 9 shows how a really lively studio practicing vocals and chorus while hitting hand clapping while Paul instructs. Speaking of “Penny Rain” is that impressive oboe and trumpet. This also includes a state of trial and error making various melodies. Originally it was only added sparingly as an accent, but what made it a penetrating melody was the right choice to determine the impression of the song. Disc 2 The single track vocal of track 17 is a great outtake combined with a singing way of singing.

【SGT.PEPPER’S LONELY HEARTS CLUB BAND】 Well, from a series of recording sessions, it is finally the sound source of an album recorded song. Recording of a hard title song decorating the beginning of the album began on February 1, 1967. Paul was intentionally singing with a dyed speech, as it was done with a warm up, a rock-oriented song that originally brought drums and guitar to the front from the beginning, as was done in “Oh darling” later on. Because it was decided that the ending can be linked to “With A Little Help”, it seems like I am dumping it to finish until the ending. Hard vocals in addition to the circus-like intro. However, Paul seemed to want to add one more bit more, and in disk 3 track 16 he was playing a shrill guitar. Disk 3 Track 18 is the hustle bustle used in that intro which was in the library of the studio. It is recorded in the uncut with a length of 2 minutes and 20 seconds as a whole.

【WITH A LITTLE HELP FROM MY FRIENDS】 It is the second song of the album and it is a tune connected by medley. When you listen to this, you can see that the borders of the songs are classified by the part by piano repeated hits. The clean intro before cheers are covered is fresh. Disk 3 Track 30 is only vocal by apple’s single track, and chorus has not been superimposed yet. For the first time on track 31, a chorus “Very cute” is added to the piano succession of the intro. The chorus in the song is also recorded like a cappella, but when you listen to it, it sounds like George is tight. Conversely, the track 35 is a chorus track. It is not like overlapping takes as in the early days because of the relation of the recording method, but since the track which superimposes musical instruments in order is recorded, it is as if it seems as if it separated as like multitrack, but these are piled up That means the song was completed. The disc 3 track 37 is a cheering part connecting the medley portion with the first song.

【LUCY IN THE SKY WITH DIAMONDS】 Well this one of the highlights of this work will be this Lucy session. John is a fantasy song composed with inspiration from a picture drawn by a young Julian. Take 1 is a different vocal and John sings somewhat flat. It can be heard that the effect itself has already been applied to the voice itself. The chorus part of the chorus is still unrecorded and becomes karaoke. The ending is attention, and the part which finally fades out processing is recorded neatly (although it is a somewhat finished way even though it says it). While WITH A LITTLE HELP was recorded on a track by track basis, John seemed to like the legendary recording method, so the take that he sang several times is left behind like this. The chorus part of the chorus that repeats the title with a bold voice of Paul will not eventually appear until Take 8 and it will have been recorded long after. Disc 4 The track 20 is a take sung by Jeremy who appeared in the movie “Yellow Submarine”.

【GETTING BETTER】 Take 1 will be announced, but basic tracks are recorded by re-partitioning after breaking down once. Vocal is still a musical instrument tracking track that can only be heard far away. The fact that the sound of Elephi is used so effectively is that it is difficult to notice mediumly when it contains vocals. Truck 24 can also hear rough guide vocals but the volume is small. Vocal is recorded for the first time on March 23, 1967. Of course the main is Paul and the chorus seems to be John alone. By the way, it was shown on the stage in the 2002 tour. The cutting phrase of the guitar is an impressive song, but in the early take which can be heard in this work, it is being played with elephi. Interestingly on disc 4 track 30, clipping is recorded as a sound effect. This was eventually omitted.

【FIXING A HOLE】 Take 1 was recorded on February 9, 1967. Vocals are very similar to release versions, but they are separate take. I do not have any chorus, and received a very simple impression by Paul’s solo. Disk 5 Track 6 is a rehearsal, and it is recorded that the characteristic Baroque keyboard is trying with that and that. It is surprising that he can listen to the studio other than Sargent · Peppers’ songs. Take 3 that enters as it is with another vocal is also another vocal, compared to Take 1 who was singing calmly, this is singing as if it jumps energetically. I did not like the take so far, I am recording a new backing track on February 21, 1967.

【SHE’S LEAVING HOME】 Paul is playing this song live at the 2002 tour. It will be understood by the person actually present, but at the live it was only the keyboard and chorus performances played by Wix. In fact, the original version recorded in Sargent · Peppers is recorded only back string instrument, the so-called Paul’s exclusive place and the other members are participating only in the chorus. It was George Martin who was in charge of all the producers since his debut, but the score of the stringed instruments of this song is externally asked to be Mike · Leider. busy

ONE DOWN, SIX TO GO VOL.1】 Before “Sargent · Peppers” became “Sargent · Peppers”, members were called as “ONE DOWN, SIX TO GO” on the tentative title. This work is titled according to it. It is a big project that includes a lot of debut sounds, covering 10 disks indeed. This work is its first part. Recording of “Strawberry Fields” which became the entrance of the recording and “She’s Leaving Home” from the studio session sound source is recorded. Permanent preservation of a beautiful picture / disk specification A tightly pressed press.

DISC ONE STRAWBERRY FIELDS FOREVER September – November 1966, SANTA ISABEL, SPAIN “It’s Not Too Bad” Session 1 01. Tuning 02. Take 1 03. Take 2 04. Take 3 05. Take 4 06. Take 5 breakdown

“It’s Not Too Bad” Session 2 07. Take 6 – breakdown 08. Take 7

November 1966, KENWOOD, UK Demo Session 1 09. Guitar overdub rehearsal 10. Guitar overdub 11. Demo playback 12. Vocal overdub 13. Guitar rehearsal / Playback snippet

Demo Session 2 14. Take 1 breakdown 15. Take 2 breakdown 16. Take 3 breakdown 17. Take 4 breakdown 18. Take 5 breakdown 19. Take 6 breakdown 20. Take 7 21. Take 8 22. Mellotron rehearsal on Takes 3-6 23. Mellotron overdubs on Take 7

EMI STUDIOS, LONDON UK November 24, 1966 24. Rehearsal 25. Take 1 Single vocal 26. Take 1 Vocal Overdubs 27. Take 1 ADT unused fragment

November 28, 1966 28. Take 2 29. Take 3 breakdown 30. Take 4

November 29, 1966 31. Take 5 breakdown 32. Take 6 33. Rehearsal

Overdubs on Take 6 34. Electric Guitar overdub 35. Mellotron and Bass SI #1 36. New single vocal track 37. Mellotron and Bass SI #2

38. Take 7 remix from 4-track 39. Take 7 reduction 40. Take 7 RM3 41. Take 7 Acetate

December 8, 1966 42. Take 23 43. Take 24

December 15, 1966 44. SI onto Take 25 (edit of Takes 15 & 24) 45. SI #2 onto Take 25 46. Take 26 w/single vocal SI 47. Take 26 w/two vocal tracks 48. Take 26 RM9

DISC TWO STRAWBERRY FIELDS FOREVER December 21, 1966 MIXING & MULTITRACKS 01. SI Vocals + piano onto Take 26 02. SI Vocal #2 onto Take 26 03. Takes 15, 24 & 26 multitrack 1 04. Takes 15, 24 & 26 multitrack 2

December 22, 1966 MIXING 05. Take 7 + 26 EMI Acetate

PENNY LANE December 29, 1966 06. Take 6 07. Pianos SI onto Take 6

January 6, 1967 08. Take 8 fragment 09. SI Overdubs onto Take 8

January 9, 1967 Overdub Session 10. Warm Up 11. Piano rehearsal 12. Flutes & Flugelhorn Rehearsal 13. Take 9 playback & Piano Overdub #1 14. Take 9 playback & Piano Overdub #2 15. Take 9 Flutes & Flugelhorn SI

January 12, 1967 16. Oboes & Trumpets SI onto Take 9 17. Take 9 single lead vocal & Oboes 18. RM8 w/double tracked vocal

January 17, 1967 19. Oboe & Piccolo instrumental 20. RM9 21. RM10 22. RM11 23. True Capitol Promo 45” RM11

January 25, 1967 MIXING & MULTITRACKS 24. Paul single tracked vocal 25. Paul double tracked vocal 26. ADT, Bass and extra piano 27. Flutes, extra trumpets & horns 28. Alternate Channel Mix

DISC THREE SGT PEPPER’S LONELY HEARTS CLUB BAND February 1, 1967 01. Warm Up (unedited) 02. Take 1 (unedited) 03. Take 2 (fragment) 04. Take 9 05. Take 9 (4-track reel)

February 2, 1967 OVERDUB SESSION onto Take 9 06. Free Now 07. Alternate vocal 08. Free Now playback (unmixed) 09. Isolated playback chat unmixed 10. Isolated playback chat clean 11. Main Vocal SI 12. Paul & John vocals SI 13. George Vocal SI 14. Take 9 final vocals SI 15. Mixdown Take 10 Acetate

March 3, 1967 OVERDUB SESSION 16. Harrison Guitar SI onto Take 10 17. Horns SI onto Take 10

March 6, 1967 OVERDUB SESSION 18. Atmosphere unedited tape 19. Atmosphere SI (4-track reel) 20. Take 10 Remix 8

FOUR TRACK REEL from Take 10 21. Backing Track 22. Vocal Track Take 20

MULTITRACKS 23. Bass 24. Vocals 25. Instrumental 26. George Martin on mixing desk

WITH A LITTLE HELP FROM MY FRIENDS March 29, 1967 27. Take 1 (breakdown) 28. Take 2 29. Take 10 (4-track reel) 30. Lead Vocal SI 31. Backing Vocals #1 SI (4-track reel)

March 30, 1967 OVERDUB SESSION 32. Timpani and snare Rehearsal 33. Timpani and Bass SI (4-track reel) 34. Lead Guitar SI 35. Backing vocals #2 & Hammond SI (4-track reel) 36. Take 11 (4-track reel) 37. Atmosphere Intro

MULTITRACK 38. Drums 39. Bass and Tambourine 40. Piano 41. All vocals 42. Instrumental

DISC FOUR LUCY IN THE SKY WITH DIAMONDS March, 1967 01. Take 1 02. Take 2 03. Take 3 04. Take 4 05. Take 5 06. Take 6 07. Take 7 piano + tamboura SI 08. Take 8 reduction from Take 7

March 2, 1967 OVERDUB SESSION 09. Bass 10. Lead Guitar 11. John vocal + Paul & John backings 12. John second vocal & backing SI 13. Paul second backing vocal SI 14. John third vocal SI 15. Final Vocal Mix unedited 16. RM11

MULTITRACK 17. Drums 18. Take 6 Monitor Mix 19. Vocal Pitch

EXTRA 20. RM20 1968

GETTING BETTER March 9, 1967 21. Take 1 Warm Up 22. Take 1 23. Unknown Take breakdown 24. Take 7 w/rough vocal guide

March 10, 1967 OVERDUBS 25. Drums SI 26. Bass SI 27. Take 12 Tamboura & Guitar SI

March 21, 1967 28. Take 14 Mixdown of take 12

March 23, 1967 OVERDUBS 29. First vocal inserts 30. Paul & John vocal track #1 31. Paul & John vocal track #2

DISC FIVE GETTING BETTER March 23, 1967 OVERDUBS MULTITRACKS 01. All vocals 02. Electric Guitars & Congas 03. Electric Pianos & Congas 04. Take 15 Remix

FIXING A HOLE February 9, 1967 05. Take 1

Mixdown Take 1 onto Take 2 06. Rehearsal 07. Take 3

Overdubs onto Take 2 08. New Vocal insert SI 09. Second vocal SI 10. All vocals & Backing V SI 11. Electric Guitar SI

February 21, 1967 12. New backing track (Harpsichord, bass and drums SI) 13. Unknown RM Mix

MULTITRACK 14. Backing Vocals 15. Instrumental

SHE’S LEAVING HOME March 17, 1967 16. Take 1 17. Take 6

March 20, 1967 18. Violins (4 track tape) 19. Cellos (4 track tape)

Reduction Take 1 into Take 9 20. Vocals Multitrack tape 21. Main Vocals (4 track tape) 22. Backing Vocals SI (4 track tape) 23. Take 9 (4 track tape) 24. RM1 with ADT

April 17, 1967 Stereo Remix 6 & Edit -MULTITRACK 25. Harp, Violas and Violins 26. Harp, Cellos & Double Bass 27. RS backing track 28. Vocals onto Edited Take 9