The Beatles / FOUR SIDES OF THE CIRCLE - REVOLVER recording sessions / 5CD

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Seller: thegreatcornholio67 (610) 100%, Location: Strasbourg, Ships to: Worldwide, Item: 174268016479 THE BEATLESFOUR SIDES OF THE CIRCLE « Revolver » recording sessionsDIGITALLY REMASTERED Silver pressed CD-set with SlipcaseFrom the renowed label VALYRIE RECORDS, a guarantee of the highest standardsCatalogue number: VAL-013 *** The Beatles and producer George Martin assembled at Abbey Road's Studio Two on April 6, 1966, their first recording session together since they'd wrapped the Rubber Soul LP almost five months before. They would begin work on Revolver by recording Tomorrow Never Knows, the song that would close out the album.The lyrics were primarily written by John, who borrowed from The Psychedelic Experience, a book written by LSD proponents Timothy Leary and Richard Alpert. The book was an adaptation of the centuries-old Tibetan Book of the Dead. Leary's introduction to the book reads, "Whenever in doubt, turn off your mind, relax, float downstream." That would become the song's first line."You can hear, and I am sure most Beatles fans have, Tomorrow Never Knows a lot and not know really what it is about," George Harrison explained in Anthology. "Basically it is saying what meditation is all about. The goal of meditation is to go beyond, that is, transcend, waking, sleeping and dreaming. So the song starts out by saying, 'Turn off your mind, relax and float downstream, it is not dying' …"I am not too sure if John actually fully understood what he was saying. He knew he was onto something when he saw those words and turned them into a song. But to have experienced what the lyrics in that song are actually about? I don’t know if he fully understood it.”Lennon maintained in 1980 that LSD was his inspiration. “Leary was the one going 'round saying, take it, take it, take it. And we followed his instructions in his ‘how to take a trip’ book. I did it just like he said in the book, and then I wrote Tomorrow Never Knows, which was almost the first acid song: 'Lay down all thought, surrender to the void,’ and all that shit which Leary had pinched from The Book of the Dead.”Like A Hard Day's Night, the song's title was inspired by one of Ringo Starr's malapropisms, which came to be known as "Ringoisms." In a 1964 interview with the BBC, Starr was asked about a fan who cut off some of his hair during The Beatles' U.S. tour. "You know, what can you say?" said Starr. "Tomorrow never knows." The title never appears in the song.Geoff Emerick, the young engineer tasked with making The Beatles' recording ideas reality, describes Lennon's vision for the song's sound in his book Here, There and Everywhere: My Life Recording the Music of the Beatles. "This one’s completely different than anything we’ve ever done before,’ John was saying to George Martin. ‘It’s only got the one chord, and the whole thing is meant to be like a drone.' … My ears perked up when I heard John’s final direction to George: ‘ ... and I want my voice to sound like the Dalai Lama chanting from a mountaintop, miles away.’”Emerick thought he had the solution. "The studio's Hammond organ was hooked up to a system called a Leslie, a large wooden box that contained an amp and two sets of revolving speakers. … It was the effect of those spinning speakers that was largely responsible for the characteristic Hammond organ sound. In my mind, I could almost hear what John's voice might sound like if it were coming from a Leslie."When Lennon's vocal was played back in the control room, The Beatles loved the result. The Leslie effect can be heard beginning with the song's fourth verse, "Love is all and love is everyone," and continues to the end.Paul introduced the innovative use of tape loops played backward, slowed down or sped up to produce an otherworldly effect. He was inspired by the electronic music of Luciano Berio and Karlheinz Stockhausen. McCartney encouraged his bandmates to create their own loops, which would replace traditional solos. "We did it because, I for one, am sick of doing sounds that people can claim to have heard before," McCartney told NME in 1966.Among the tape loops used in Tomorrow Never Knows was a "seagull" sound, actually McCartney's laughter at double speed; guitar and sitar phrases sped up and reversed; and notes played on a mellotron's flute and violin settings. All contributed to the song's psychedelic vibe.After three takes the song was essentially done, though overdubs and mixing continued in April. Revolver was released in the U.S. on Aug. 8, 1966, with Tomorrow Never Knows as its closing number.In The Beatles, Lennon said that he had one regret about the song. "Often the backing I think of early on never comes off. With Tomorrow Never Knows I'd imagined in my head that in the background you would hear thousands of monks chanting. That was impractical of course and we did something different. I should have tried to get near my original idea, the monks singing. I realize now that was what it needed."This work, one more time, is unprecedented and monumental. You can hear (and feel) that The Beatles perceived the real pleasure and entertainment of studio production with Revolver. They understood that with more time, they can create a more dense album. DISC ONEPAPERBACK WRITERApril 13, 196601. Take 1 (breakdown/Source 1)02. Take 1 (breakdown/Source 2)03. Take 2 (complete backing track)April 14, 1966Overdubs onto Take 204. First Lead Vocal & Backings +Guitar fills05. Bass SI (multitrack)06. Second Lead Vocal & Backings vocals07. Mixdown full Take with organ SI08. RMOctober 31, 196609. RS from AcetateMULTITRACKS10. Separation process11. All Vocals12. InstrumentalRAINApril 14, 196613. Take 4 (monitor mix- partial)April 16, 1966 14. Take 5 Lead vocal + Bass SI15. Backwards Tape16. Take 5 Tambourine +extra vocals SI17. Backing vocals overdubs Onto Take 618. Take 719. RM3MULTITRACKS20. George Martin on Backwards Tape21. Drums on frontTAXMANApril 21, 196622. Take 11 Single vocal track (partial)23. Take 11 ADT vocal24. Lead Guitar + Tambourine SI25. More Guitar + Backing vocals SI26. Take 11 with OverdubsApril 22, 196627. Reduction Take 1228. Backing vocals remake SIMay 16, 196629. Intro SI30. RM 4June 21, 196631. RM 5 & 6 Edit32. RS 1 & 2 EditMULTITRACKS33. Tape Process34. InstrumentalDISC TWOELEANOR RIGBY01. DemoApril 28, 196602. Between Takes 1 & 2 (partial)03. Take 14April 29, 196604. Take 15 Single vocal track05. Take 15 Paul vocal overdub06. John & George Backing SIJune 6, 196607. Paul Third vocal SI08. Paul Fourth vocal SIJune 7, 196609. Acetate test mixI’M ONLY SLEEPINGApril 29, 1966 (remake session)10. Rehearsal11. Take 112. Take 2 (breakdown)April 27 & May 5, 196613. Take 11 with SIMay 6, 196614. Vocals SI on Take 1115. Vocal overdubs w/Guitar SIMay 12, 196616. Take 13 RM5May 20, 196617. Take 13 RS 118. Take 13 RS 219. Take 13 RM6LOVE YOU TOApril 13, 196620. Take 7 RM1, 2 & 3 (longer)HERE, THERE AND EVERYWHEREJune 16, 196621. Take 7 & Vocal SI from Take 1322. Take 13 Harmonies SI (partial)23. Take 14 (Take 13 with vocal SI)June 17, 196624. Second Paul vocal & Lead Guitar SIMonitor Mixes from Take 1425. Composite #126. Composite #227. Off Line #128. Off Line #229.. Off Line #330. Off Line #4YELLOW SUBMARINEMay 26, 196631. Take 1 (partial)32. Take 4 (complete)33. Take 5 Vocals Inserts SI #1 & #234. Take 5 John Vocal Insert SIJune 1, 196635. Spoken Intro (partial)36. Sound & vocal effectsOVERDUBS ONTO TAKE 537. Paul backing vocal SI38. Additional Backing Vocals SI39. Backing Vocals with Mal on Bass Drum40. All vocal tracks (multitrack)41. Take 5 Alternate Sound effects MixDISC THREEYELLOW SUBMARINEJune 2, 196601. Rough Remix 1 different Brass tapeJune 3, 196602. Final Brass Band tape mix03. RM 5June 22, 196604. RS 2MULTITRACK05. Instrumental06. Control Room Monitor MixEXTRAS07. 1968 RM08. 1996 Enhanced MixSHE SAID SHE SAIDMarch 1966 HOME DEMOSHE SAID HE SAID SESSION 109-Demo #110-Demo #2 False Start11-Demo #312-Demo #413-Demo #5HE SAID HE SAID SESSION 214. Demo #6SHE SAID SHE SAID SESSION 315. Demo #7 w/False Start16. Demos #8 & #9June 21, 196617. RM AcetateCHANNEL MIX18. Left (mono)19. Right (mono)GOOD DAY SUNSHINEJune 8, 196620. Take 1 with SI (Left Channel Mix Mono)June 9, 196621. Overdubs onto Take 1 (Right Channel Mix Mono)June 22, 196622. RM723. RS1AND YOUR BIRD CAN SINGApril 20, 1966 SESSION 124. Take 2 with Vocal track #125. Take 2 Bass, Guitar & Second Vocals SI26. Take 2 Vocals Overdub #3 w/extra guitar solo SI27. Take 2 with three vocals and SI (1996 composite)April 26, 1966 RE-MAKE SESSION28. Take 3 (breakdown)29. Take 6 (final only)30. Take 10 cymbal, tambourine & handclaps SI31. Alternate Guitar SI #132. Take 10 RM533. Guitar SI #2 re-make (multitrack)34. Guitar solos comparisons35. Takes 10 & 6 Unreleased InstrumentalApril 27, 196636. Takes 10 & 6 no ADT vocals37. Vocals with ADT (multitrack)May 12, 196638. RM 7 & 8 for the USMay 20, 196639. RS 1 & 2 edit for the US40. RS 1 & 2 edit for the UKJune 7, 196641. Acetate Test Mix RM 9 & 10June 6 & 8, 196642. Edit of RM 9 & 10 for the UKMULTITRACK43. InstrumentalDISC FOURFOR NO ONEMay 9, 1966 MONITOR MIXES01. Rehearsal02. Take 103. Take 204. Take 705. Take 806. Take 9May 16, 196607. Take 10 SI #1 (monitor mix #1)08. Take 10 SI #2 (monitor mix #2)09. Take 10 SI (monitor mix #3)10. Take 10 SI (composite monitor mix)11. Take 10 SI Clavichord track12. Take 10 SI Vocal trackMay 19, 196613. Take 14 SI Alternate Horn (monitor mix)14. Take 14 SI French HornMULTITRACK15. Take 10 backing trackDOCTOR ROBERTMay 12, 196616. RM4 for the US17. Acetate Test MixMay 20, 196618. RS1 for the USI WANT TO TELL YOUJune 2, 196619. Pre-Take 1 (partial)June 3, 196620. RS from Take 4 (full intro)GOT TO GET YOU INTO MY LIFEApril 7, 196621. Take 5May 18, 196622. Tape reduction Take 9CHANNEL MIXES23. Take 8 partial from 5.1 mix24. Take 8 with SI (Left Channel/mono)25. Brass SI #1 partial from 5.126. Brass SI #2 partial from 5.127. Second Vocal SI partial from 5.128. Take 9 SIJune 20, 196629. RM8 different vocal at endJune 22, 196630. RS1 different vocal at endEXTRAS31. RM & RS End comparison JULY, 1966CLIFF BENNET AND THE REBEL ROUSERS SESSION32. Paul on Piano and ProducerTOMORROW NEVER KNOWSApril 6, 196633. Take 1 alternate intro34. Take 1April 27, 196635. Take 3 RM8 Mono Matrix IIJune 6, 196636. Take 3 RM11 Mono Matrix IJune 8, 196637. Acetate Test RM11June 22, 196638. Take 3 RS6MULTITRACKS39. Take 1 (mixing desk)40. Take 3 (full end) (mixing desk)41. Take 3 monitor mix42. George Martin explainsDISC FIVEALTERNATE MIXES & WORLDWIDE VARIATIONSPAPERBACK WRITER01. 1966 Japanese EP Duophonic02. 1970 US ‘Hey Jude’ LP Stereo reversed03. 1979 unreleased US ‘Collector’s Items’ LP Stereo04. 1982 UK ’20 Greatest Hits’ LP Stereo Center05. 1983 UK ‘Abbey Road Show’ John Barrett Stereo06. 1996 ‘Anthology’ Video Mix Stereo07. 2001 ‘Beatles 1’ Video mix Stereo08. 2009 ‘Rockband’ mixRAIN09. 1983 UK ‘Abbey Road Show’ John Barrett Stereo10. 1996/2003 ‘Anthology’ Video Mix Stereo11. 1996 ‘Anthology’ Laserdisc StereoTAXMAN12. 1966 French ‘Revolver’ LP Mono clean intro13. 1966 French ‘Revolver’ LP Stereo clean intro14. 1966 Mexican ‘Revolver’ LP Mono clean intro15. 1976 US “Rock ‘N’ Roll Music” LP Stereo reversed16. 2009 ‘Rockband’ mixELEANOR RIGBY17. 1968 ‘YS Film’ Stereo18. 1987 ‘YS Film’ Laserdisc StereoI’M ONLY SLEEPING19. 1966 French EP Mono slightly dif EQ20. 1966 US “Yesterday and Today” LP DuophonicLOVE YOU TOO21. 2011 “LITMW” Video Stereo22. 2011 5.1 separationHERE, THERE AND EVERYWHERE23. 1977 “Love Songs” LP Stereo reversed24. 1980 “Ballads” LP StereoYELLOW SUBMARINE25. 1968 ‘YS Film’ Stereo26. 1982 UK ’20 Greatest Hits’ LP Stereo27. 2009 “Rockband” mixAND YOUR BIRD CAN SING28. 1996 US “Yesterday and Today” LP Duophonic29. 2009 “Rockband” mixFOR NO ONE30. 1977 “Love Songs” LP Stereo reversedDR. ROBERT31. 1996 US “Yesterday and Today” LP DuophonicGOT TO GET YOU INTO MY LIFE32. 1976 US “Rock ‘N’ Roll Music” LP Stereo reversed33. 1976 Single Stereo with echo International Shipping With Tracking Number! Condition: Neuf, Artiste: The Beatles, Édition: LIMITED COLLECTOR EDITION, Sous-genre: STUDIO SESSIONS, Année de sortie: 2018, Format: Coffret, Genre: Rock, Compilation: Oui, Packaging: Emballé, Label discographique: VALKYRIE RECORDS

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