JOHNLENNON, LOST IN WEYBRIDGE, 1968, unreleased Kenwood sessions, A-, CRJOHNLENNON, THE DIRTY MAC SESSIONS, 12/11/68, Rock And Roll Circus, A-, CRJOHN LENNON, LOOK AT ME, 1968-1980, demos & alternates, A-, CRJOHN LENNON, GONE FROM THIS PLACE, 1969-1980, demos & outtakes, A, CRJOHN LENNON & PLASTIC ONO BAND, MOTHER, 1970, demos & outtakes, A, CRJOHN LENNON, PLASTIC ONO BAND SESSIONS, 1970, A, 5CRJOHNLENNON, HUSHED BELLS OVER, 1970, Plastic Ono Band demos & acetates, A-, CRJOHN LENNON, THE ALTERNATE PLASTIC ONO BAND, 1970, alternate album, A-, CRJOHN LENNON, IT'S GONNA BE ALRIGHT, First album outtakes, A, 2CRJOHNLENNON, OUT OF THE BLUE, 1971-1980, acoustic & alternate demos, A-, CRJOHNLENNON & FRIENDS, LET'S HAVE A PARTY, 10/09/71, a house party, B+, CRJOHN LENNON, THE LOST LENNON TAPES VOL.1-6, A, 6CRJOHN LENNON, THE COMPLETE LOST LENNON TAPES VOL.1-11, A, 11CRJOHNLENNON, THE DREAM IS OVER, Demos + alternates, A-, CRJOHN LENNON, YOKO ONO & FRANK ZAPPA, FILLMORE EAST 1971, 06/05/71, New York, DVDJOHN LENNON, THE ALTERNATE IMAGINE, 1971, alternate album, A, CRJOHN LENNON, IMAGINE SESSIONS, 1971, A, 6CRJOHN LENNON, SOMETIME IN NEW YORK CITY SESSIONS, 1971-72, Captain Acid, A, 3CRJOHN LENNON & PLASTIC ONO BAND, THE ALTERNATE SOMETIME IN NEW YORK CITY, 1972, alternate album, A, CRJOHN LENNON & ELEPHANT'S MEMORY, ONE TO ONE REHEARSALS, 08/22/72, New York, B+, 2CRJOHN LENNON & PLASTIC ONO BAND, LIVE IN NEW YORK CITY, 08/30/72, Japanese Laser Disc, DVDJOHN LENNON, MIND GAMES SESSIONS, 1973, studio sessions, Captain Acid, A, 4CRJOHN LENNON, ABSOLUTE ELSEWHERE, 1973, studio sessions, Captain Acid, A, 3CRJOHN LENNON, THE ALTERNATE MIND GAMES, 1973, alternate album & demos, A-, CRJOHN LENNON, THE ALTERNATE MIND GAMES, 1973, outtakes, alternates & demos, A-, CRJOHN LENNON, THE ALTERNATE MIND GAMES AND SHAVED FISH, A-, CRJOHN LENNON, THE ALTERNATE ROCK'N'ROLL, 1974, alternate album, A, CRJOHN LENNON, ROCK'N'ROLL DELUXE EDITION, 1974, sessions & mixes, A, 4CRJOHN LENNON, OLDIES BUT MOLDIES, unreleased Rock'n'Roll album, A, CRJOHN LENNON, WINSTON O'BOOGIE VINYL, outtakes and jams, A-, CRJOHN LENNON, WALLS AND BRIDGES SESSIONS, 1974, studio sessions, A, 2CRJOHN LENNON, WALLS AND BRIDGES SESSIONS, 1974, Misterclaudel/Captain Acid, studio sessions, A, 5CRJOHN LENNON, THE ALTERNATE WALLS AND BRIDGES, 1974, alternate album, A, CRJOHN LENNON, LISTEN TO THIS: THE ULTIMATE WALLS AND BRIDGES ANTHOLOGY, Captain Acid, July 1974, A-, 3CRJOHN LENNON, THE ALTERNATE SHAVED FISH, 1975, alternate album, A, CRJOHN LENNON, BETWEEN THE LINES: COMPLETE HOME RECORDINGS 1975-1980, A, 9CRJOHN LENNON, FREE AS A BIRD: THE DAKOTA BEATLE DEMOS, 1976-1980, home demos, A-, CRJOHN LENNON, BORROWED TIME, demos & alternates, A-, CRJOHN LENNON, GONE FROM THIS PLACE, demos & outtakes, A-, CRJOHN LENNON, WE'D LIKE TO CHANGE THE TEMPO NOW, 1977-1980, Double Fantasy & Milk And Honey demos, A-, 2CRJOHN LENNON, THE ALTERNATE DOUBLE FANTASY, 1980, outtakes, alternates & demos, A, CRJOHN LENNON, LIVING ON BORROWED TIME, 1979, Double Fantasy demos & Milk And Honey outtakes, A, 2CRJOHN LENNON, DOUBLE FANTASY RECORDING SESSIONS, 1980, A, 4CRJOHN LENNON, IT'S HARD TO BE BUTTERFLIES, 1979-1980, Double Fantasy& Milk And Honey demos, outtakes & alternates, A-, 2CRJOHN LENNON, MILK AND HONEY SESSIONS, 1980, A, 3CRJOHN LENNON, LIFE IS WHAT HAPPENS, 1979-1980, demos, A-, 2CRJOHN LENNON, ODDITIES, TMOQ Gazette, A, 2CR
The Beatles revolver Studio Sessions Back To Basics
The explanation for how "You Know My Name (Look Up the Number)" earns the top spot in McCartney's heart isn't a whole lot more complex than simply the good memories he has of the recording sessions. As McCartney put it, "We had such fun making it. It's like a little comedy record. And I just remember the joy of making it." According to the Beatles Bible, the Let It Be sessions were an attempt at some back-to-basics music-making in the wake of the creative strife left behind by recording the White Album.
Still, when they got back together, they said something immediately clicked again. 'Let's Rock' was written in the studio and tracked live at Auerbach's Easy Eye Sound in Nashville.
By the opening days of 1969, it was clear that John Lennon, Paul McCartney, George Harrison, and Ringo Starr were four very different people, temperamentally and artistically. Their lives were taking them in different directions and threatening to pull them apart from the group that made them internationally famous. The Beatles, a.k.a. The White Album, had made high art out of those very differences and - surprising no one - was another triumph for the world's biggest band. But still there was dissension in the ranks. The group decided to take a "back to basics" approach, and on January 2, 1969, rehearsals and recording began at Twickenham Film Studios for what became Let It Be. A little over a week later, George Harrison departed the sessions in frustration. ("Rehearsed until lunchtime, left the Beatles, went home," he dryly noted in his diary.) So began a tumultuous period for the Fab Four, or at least that's how the story goes. George was back by January 22 at the new environs of the Fabs' own Apple studio, and on January 30, the group staged their legendary "rooftop concert." The next day, three more songs were filmed, and recording was paused for three weeks. Apple Records announced in mid-February that the new Beatles album would arrive in April or May. Instead, the new Beatles album arrived in September...but it was a different album which had risen from the ashes of the January sessions.
The recording of Abbey Road began with sessions held between late February and early May 1969; by May, Glyn Johns had made his first stab at compiling the January recordings as Get Back. The Beatles weren't sure where the five tracks recorded in that first period ("I Want You (She's So Heavy)," "Something," "Oh! Darling," "Octopus's Garden," and "You Never Give Me Your Money") would wind up. When the Fabs returned to work in July and August after a particularly fraught time of business tensions, it was with renewed purpose - to complete the album that would become known as Abbey Road. All of the July and August sessions were, naturally, held at EMI's Abbey Road studios with George Martin at the helm. Some of the earlier material had been recorded at Trident and Olympic Studios, but The Beatles were ready to complete their final statement back home.
While the January 1969 sessions were salvaged for Let It Be - which, despite many controversies can still stand up as a proper "concluding" chapter for The Beatles - Abbey Road represents the true farewell from the four young men from Liverpool at the peak of their collective powers. They got back home on Abbey Road - home to EMI's Abbey Road studios, to a time before the in-fighting, the business quarrels, the personal tensions, when they could work together to create remarkable art built to stand the test of time. Now, this engrossing Anniversary Edition takes listeners back home, too, opening new windows on a now-classic work of art. Oh yeah, alright!
Ever wonder what Abbey Road might've sounded like if the Beatles had applied the back-to-basics approach of the "Get Back" sessions to that better body of songs? This digipack release answers that question, showing the album was a work-in-progress, comprised of outtakes, rough mixes, early edits, and other elements of the sessions that became the Abbey Road album, offering a glimpse under the overdubs and edits that played a big role in the content of the completed album. This reveals the Beatles sounding a lot like Creedence Clearwater Revival, like they did on the Let It Be rooftop concert -- opening with a nicely raw version of "Come Together" played in a rather loose tempo, the disc proceeds on to Take 37 of "Something," which is stripped down to its basics, and ends with a long piece of unrelated studio jam dominated by the piano, and then offers a mostly undubbed and utterly delightful basic mix of "Maxwell's Silver Hammer." "Oh Darling" is even more of a soul-shouter here than it is on the official release, with the lead guitar pushed up even further in the mix. "Octopus' Garden" and "I Want You (She's So Heavy)" get similar showcases, which will be a treat for anyone who loves listening to the Beatles as a basic four-piece band, cranked up nice and loud on the latter, of course. An alternate mix of the band's version of "Come and Get It" and a fragmentary Lennon number, "Oh, I Want You," leads into a preliminary assembly of the album's second side, which is sort of an "alternate universe" version of the most famous medley in rock music history, with the songs in somewhat different order from the way we know them (and the producers concede there is a bit of high-end distortion on the source tape for this section). The disc ends with 23 minutes of outtakes from these and related sessions, including a delightful slow-tempo rendition of "Ain't She Sweet"; a jam of "You Never Give Me Your Money" that slides into "At the Hop"; early alternate takes of "Maxwell's Silver Hammer," "Golden Slumbers"/"Carry That Weight," and "Octopus' Garden," mostly with no overdubbed instruments or backing vocals; and a George Harrison solo electric guitar run-through of "Something" -- the quality on some of this shaky, but it's all good listening.
In the album completed just prior to Abbey Road, later released as Let It Be, The Beatles were attempting to move far away from the intense, overdub-driven output of Pepper and the so-called White Album (actually titled The Beatles). They got back to basics, with stripped down songs and arrangements; their vision only clouded later when Phil Spector took over the sessions in 1970, completing three of the tracks with a flourish of orchestra and choir. 2ff7e9595c
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