Набор The Ultimate Collection Volume 3 - 4CD BOX Set (YDB 301/304) включает в себя:

Box

8 pages booklet

CD The Radio Years at the Beeb (YDB 301)

CD Studio Sessions, 1964 (YDB 302)

CD Studio Sessions, 1965-1966 (YDB 303)

CD The 3rd Recorded Hour Of The Let It Be Sessions (YDB 304)

The Radio Years at the Beeb

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Liner notes:

The Radio Years at the Beeb: An interesting collection of 28 cover versions.

Legend has set the date of Wednesday March 7, 1962 as The Beatles' very first live appearance on BBC Radio. The programme, which was called 'Teenagers Turn', was recorded at the Manchester Playhouse and hosted by one long-forgotten Ray Peters. The boys, with Pete Best on drums, recorded a set of four songs: Dream Baby, Memphis Tennessee, Please Mr. Postman and Hello Little Girl. The first three of these were broadcast the following day.

It was to be the first in a long and productive series of successful radio-spots by a young and promising quartet, soon to be nationally announced as the Fab Four. Everything was live, as the Beeb didn't like playing scratchy records. Thanks to that, The Beatles created a rich recor­ded list of rare and alternative, sometimes one-off, studio performances. In just three years, The Beatles gigged live on fifty two different BBC Radio shows, singing ninety different songs.

Thirty two of these songs were Lennon-McCartney originals, hot hits or new album tracks they wanted to promote, the others being cover-versions of mostly American rhythm and blues tunes like: Too Much Monkey Business, Keep Your Hands Of My Baby, Soldier Of Love, Ooh My Soul, Clarabella, Lonesome Tears In My Eyes, Carol and Don't Ever Change. Thirty six of the songs were never released on any of their commercial discs.

The boys' final BBC live appearance was on Monday June 7, 1965. The programme was called 'The Beatles Invite You To Take A Ticket To Ride', a holiday special broadcast plugging their newly-released single and forthcoming new album 'Help!'  Recorded at London's Piccadilly Theatre, the show was hosted by Denny Piercy, another long-forgotten soul.

From there on, the Fabs' unique Beeb career was doomed to go straight down memory lane. Enjoyable shows like 'Saturday Club', 'Easy Beat', 'Side By Side', 'Pop Go The Beatles' and 'From Us To You' disappeared; we would have never heard them again if it had not been for some dedicated home-tapers. Over the years, naughties have thankfully plugged this rich vault of saved BBC broadcast tapes for the release of dozens of quick-selling pirate albums. Don't we all remember legendary vinyl put-outs like 'Yellow Matter Custard', 'The Lost Beebs', 'Youngblood', 'A Parlophone Rehearsal Session’, 'Wonderful Picture Of You’, 'Top Of The Pops' and, more recently, the nine-CD strong boxed set: 'Complete BBC Collection’ by the Italy-based Great Dane Records?

On this first disc of box volume three in The Ultimate Collection, Yellow Dog you will hear an interesting collection of 28 cover songs played by The Beatles and recorded by the BBC during 1963 for "Pop Goes The Beatles". Most songs are from writers and artists they par­ticularly liked themselves, studied to fill the many hours on stage at The Cavern and Hamburg clubs like The Indra, The Kaiserkeller and the Top Ten. The disc also features covers of Chuck Berry, Carl Perkins and Buddy Holly originals, hits in the making and long-forgotten fifties originals. The boys' repertoire seemed limitless. All 28 tracks now available in the best ever sound quality so far.

Studio Sessions, 1964

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After one year this material was released on CD "Studio 2 Sessions At Abbey Road, Vol.3 (YD 065)".

Спустя год этот материал был переиздан на компакт-диске "Studio 2 Sessions At Abbey Road, Vol.3 (YD 065)".

Track 1-5: Recording session March 6, 1964.

Track 6-9: Recording session August 14, 1964.

Track 10-12: Recording session October 8, 1964.

Track 13-16: Recording session October 18, 1964.

Liner notes:

Straight back from their first tour of North America in February 1964, it's into Abbey Road studios again, recording songs for a new movie, a new-LP and a new single: 'A Hard Day's Night1, 'Beatles For Sale' and I Feel Fine. Highlights from three different recording sessions are collected here on this special compact disc.

The first of the three sessions is dated Thursday April 16, 1964. Following another tiring day of filming for their first full-length movie on location in West London's Notting Hill Gate, the lads gathered together at Abbey Road to record the hastily-penned title song for the film 'A Hard Day's Night'. The session started at seven o'clock and finished at ten that same evening. It was all ready in just three hours and nine com­pleted takes. The commercially-released version is a mono-stereo mixed overdub to this final take #9.

Yellow Dog is now pleased to present most of these nine takes saved here. For some obscure reason, the first and fifth recorded takes seem not to have been saved. So our tape starts with take #2.

Track 1 A lively rehearsal performance in the studio, featuring a guitar solo performed in place of the familiar keyboard part decided on later. Lots of lyric-improvisations from Paul, and shouts of recording joy by John. Completely different outro, the four of them breaking up in laughter and Paul recalling: "my middle-eight". All previously unheard.

Track 2 This is A Hard Day's Night, take #3. It's basically the same as the previous recorded take #2. It still lacks the piano part and most of the acoustic guitars, making the instrumental intervals sound quite different, though certainly not less amusing. Again the outro leads into a collective laugh, with John shouting "What's that?"

Track 3 This starts with George Martin shou­ting "Take four" from the upper control room, followed by a clean count-in and intro from lead vocalist John. It has slightly different instru­mental bits, though still no piano/keyboard brought in. A new find.

Track 4, takes #6 and #7 Six is an incomplete rehearsal, in a remarkable and somewhat slowed-down tempo compared to the previous five takes. Also note that the one extra line of "All through the night", which Paul used to follow on form the words "Feeling you holding me tight" has now been scrapped. John: "I heard a funny chord, it was him. Taptoo."

Seven is a full-length try, with a strong intro from John. There's a lot more orchestration in this version already, making it sound more like the finished thing. Still no piano in the solo though. But the laughs on the outro are there.

Track 5, takes #8 and #9 "I wish we would have the words written out properly", says John. Leading into a one, two, three, four, false start. Take eight. The following take nine is the first where John and Paul share vocals, the previous takes having featured John as the main vocalist with Paul just getting in on the middle parts. Also brought in, though still in the far back­ground, is the keyboard. It was this take nine from which George Martin produced the com­mercial release - a new find in this format, although it's a pity this take isn't complete.

The second Abbey Road Studios recording session saved here on Yellow Dog's Ultimate Collection is that dated August 14, 1964. Taping new and old songs for their fourth LP 'Beatles For Sale', a sort of rush-release to be in the shops in time for Christmas. Songwriters Lennon and McCartney had eight tunes this time, the other four on the new album were to be cover versions of legendary rock writers. One of their own compositions was I'm A Loser, really an autobiographical John song, influenced by the talents of the young Bob Dylan. I'm A Loser, with John on vocals and harmonica, was recorded that evening at Abbey Road in eight different takes. The session lasted from 7.00 p.m. to 10.00 p.m. Yellow Dog is now pleased to present all eight versions here, saved on CD.

Track 6, takes #1 and #2 The first recorded take starts with Paul doing a few intros, explai­ning to John he'll stop at One Two "cause that's where you come in with the mouth-organ". Another count-in from Paul obviously distracts his mind from playing as it runs into a false start. "Sorry, I forgot."

Take two starts vocally, with an instrumental intro and John singing the first line just once, where m later recordings the song starts without the instrumental intro and has John  repeating that first line once. This early version also features a notably different solo in the instrumental break and an alternative, yet to be finished, outro.

Track 7, take #3 of I'm A Loser. John sings the right lyrics just once more. Then, together with Paul joining him on the first line, opening by singing the first line twice, also skipping the instrumental intro. Slightly different backing-vocals from Paul and George, and still that different solo during the instrumental break. Near the end of the song, John decides to break up this run-through, "cause it didn't work out the same 'cause...”.

Track 8, takes #4, #5 and #6 Take #4 has John testing his newly introduced mouth-organ. Again it's him and Paul sharing the intro, then messing up the lyrics and breaking up things to go straight into take five. To Paul: "Can I put it there, 'cause you only gotta come in now and then, I'm just all uncomfort." Testing his mouth-organ again. Another false start. Ready for take six. A full-length version at last, including some slight changes in the lyrics: "I should have know I would lose in the end", where it should be: "She would win". John's mouth-organ part premiering on the instrumental break. But still, there's lots left to be desired....

Track 9, takes #7 and #8 "George are you ready?" Yet another false start, with George Martin calling from the control room: "We'll put a split-screen on your..." and putting up Paul's bass-level. Take eight is announced here, though unfortunately not fully included. It was this take eight which George Martin used to produce the final commercial version. Previously unreleased.

The third 1964 Beatles recording session saved here is dated Thursday October 8. It's the lads recording Paul's newly composed tune of She's A Woman, to be released on November 27 as the B-side to their new single I Feel Fine. Two sessions this day at Abbey Road, one in the afternoon and one in the evening. A total of five hours were spent recording seven basic tracks and several overdubs. Five of these early takes are saved here, not counting take six, the one that was finally released as the commercial version

Track 10 A very primitive-sounding take #2. No lead guitar, piano or additional over-dubbed vocals. Paul's raw vocals are single-tracked with only partly completed lyrics. No fade-out at the end.

Track 11 She's A Woman takes #3 and #4 Try three is simply a false start. Four begins with another wrong start, then goes into a full-length live studio performance (take #5). Including a long instrumental part, it all sounds quite embryonic. Getting near the end, Paul still doesn't know how to close this tune, just repeating the "She's A Woman" line. An unheard piece.

Track 12, take #7 This begins with yet another false start before Paul launches into a wild and energetic six-minute version in the blues-vocal style of Ray Charles' What I'd Say. An extended jam, including lots of screaming joy, though still without any lead guitar, piano or vocal overdubs. The track ends with Ringo remarking: "You've got a song and an instrumental there." Truly one of the most remarkable alternatives from EMI's unopened vaults.

The fourth Abbey Road recording session saved here is dated Sunday October 18, 1964. Whoever said The Beatles didn't work eight days a week? In between touting dates with Mary Wells, The Remo Four and Tommy Quickly, they taped the A-side of their new soon-to-be-released single. A nine-hour session, recording songs for 'Beatles For Sale' and a total of nine takes of I Feel Fine, composed by John. Saved here are five of the nine different versions.

Track 13, takes #1 and #2 This starts with amplifier feedback, which was described to the press at the time as "an electric accident". Clearly it was no such thing. It lacks all the echo-effects added later, with John's vocals not yet double-tracked. It also includes slight differences in the lyrics: "Her baby buys her gives, buys her diamond rings..." Breaking it up during the instrumental bit, straight into take two, as numbered by George Martin up from the control room. Previously unheard.

Track 14 I Feel Fine take #5 Another one previously unreleased. Basically the same as the previous recorded takes and still lacking the double-tracked vocals and echo-effects. The song also lacks a finished fade-out at the end.

Track 15 An all-instrumental rhythm track take #6. Most probably used as an overdub onto the commercially released take #9, this has a different outro to all the vocal versions.

Track 16 Let's give it another try. A finished take #7. Already sounding very much like the finished article, but still no fade-out at the end. This appears to be a first rough mix version. The new single I Feel Fine b/w She's A Woman was released on November 27, 1964. George Martin chose to use take nine from which to produce, edit, mix and overdub the commercial version.

Studio Sessions, 1965-1966

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After one year this material was released on CD "Studio 2 Sessions At Abbey Road, Vol.4 (YD 066)".

Спустя год этот материал был переиздан на компакт-диске "Studio 2 Sessions At Abbey Road, Vol.4 (YD 066)".

Track 1-4: Recording session February 16, 1965

Track 5-11: Recording session April 13, 1965

Track 12: Recording session October 12, 1965

Track 13-14: Recording session October 16, 1965

Track 15-16: Recording session October 20, 1965

Track 17: Recording session April 13, 1966

Track 17: Recording session April 14, 1966

Liner notes:

Having just finished twenty nights of staging their 'Another Beatles Christmas Show' at London's Hammersmith Odeon, the lads retur­ned to Abbey Road Studios to record songs for their soon to be premiered film 'Help!' and its accompanying LP. Saved here on disc three of Yellow Dog's Ultimate Collection are two 1965 studio sessions, recording many different takes of Help! and John's Yes It Is.

The first of these two sessions is dated Tuesday February 16, starting at 2.30 in the afternoon and taping Paul's Another Girl, George's I Need You and, as said, a total of fourteen takes of John's three-part harmony ballad Yes It Is. Believe it or not, twelve of these fourteen ver­sions have been saved here to enjoy.

Track 1 The first recorded take of Yes It Is. Starting with a humorous whistling count-in by John, this is clearly a very early run-through, using George Martin's newly-adopted technique oа taping studio rehearsals. John occasionally changing the lyrics, no chorus vocals: "We'd love to have an end."

Track 2 Yes It Is, take #2. A count-in from John, very soft singing indeed, again messing up the lyrics and calling an end halfway through: "A string broke, did you hear it?" Straight into takes #3 and #4, then two false starts. And on for one more, take #5: "That's in between the verses, instead of going straight on to da-da-da. That's all. One, two, three, bread:" false start: "Sorry I was wrong." Onto take seven already, another incomplete run-through, forgetting about half the lyrics. All new finds.

Track 3 Yes It Is, takes #8 and #9. Eight is yet another false start, nine is mostly instrumental, with John humming along the lyrics. Note that the final four-tone ending is now present. Previously unheard.

Track 4, takes #10, #11 and final take #14 Ten and eleven are nothing more than two wrong count-ins. Take fourteen is a far more finished-sounding completed take, with John's vocals being overdubbed and starting with tes­ting the organ part. Prior to the final overdubs of live-harmony, this version also features George's newly acquired "tone pedal' for guitar. It was this take #14 which George Martin used to produce and overdub the commercially released version. The single Ticket To Ride b/w Yes It Is was released in Britain on April 9, 1965.

The second Beatles recording session at Abbey Road Studios saved here is the one dated April 13, 1965. Following a busy day working on their second movie   Help!', most famous for its working title 'Eight Arms To Hold You', it was on this evening that The Beatles took to Abbey Road to record the film's theme song, a tune which John, in later years, would refer to as one of his first real 'message' numbers. The author pleading for help from somebody, anybody, to relieve his insecurity. Anyway, 'Help!' was taped in just four hours of studio time, coming up with some twelve takes, most of them instru­mental and numerous distinctive overdubs onto the last of these.

Tracks 5 and 6 The first four recorded takes of Help!, all wrong count-ins, false starts. George: "It's all so fast, I mean they want to double-track the voices, so I'll have to double-track sing it." No, says an argumentative Paul: "We've got two voice tracks that we can double-track the voices on. So if we do half it, just tap a beat, that'll give you something you can hear on the track. That's it, come on." And so this eventually leads us to a complete acoustic instrumental rhythm track (take #5). All the electric overdubs, such as George's distinctive descending guitar figures, arc absent.

Track 7 Help!, takes #6 and #7. Six is a false-start for another instrumental rhythm track. Seven, still no singing, here's another instrumen­tal version, this one complete though. Count-in by Paul, with chats from the boys in-between. Both are previously unreleased.

Track 8 Help!, takes #8 and #9. Eight is a false-start for what sounds like yet another rhythm track. Finally, take nine is the first one that catches the boys, John with George and Paul backing him on the chorus, singing. Very clean version.

Track 9 And on they go for an energetic take #10. Count-in from Paul. Basically the same as the previous recorded take nine. No mistakes anywhere in solos or lyrics, but George Martin still wasn't quite satisfied and had them play it once more. Paul's comment at the very end: "Are we supposed to keep that mmmmmm...?"

Track 10 Help!, takes #11 and #12. Eleven is a false start. Twelve is the take from which George Martin later used to produce the com­mercial released version, mixing, dubbing and overdubbing. Sounding already very much like the finished article. The song Help!, backed as a single with I'm Down was first released in Britain on July 23, 1965. The soundtrack album was in the shops by August 6. Two new finds.

Track 11 A final take #13 of still that same song with only marginal differences to the commercial version here. Previously unheard. The third set of Beatles Abbey Road recording sessions saved here is dated October 1965. Following their second tiring tour of North America, it's into the studio again, taping songs for their new LP "Rubber Soul'. With the LP planned to be in the shops in time for Christmas, recordings start as late as Tuesday October 12. First are two of John's new compo­sitions: Run For Your Life and This Bird Has Flown. On October 16, whilst working on 'Rubber Soul1, the lads decided it was time for yet another single. Released on the same day as the LP, it was to be a Double A-side of Paul's We Can Work It Out and John's Day Tripper. Day Tripper took only three rhythm-track takes to record, with the vocals overdubbed onto that third version. All three takes have been saved here on Yellow Dog's Ultimate Collection. We Can Work It Out recorded on Wednesday October 20, was finished m two takes, onto which innumerable overdubs were applied. Again, both takes can be enjoyed here.

Track 12 George Martin calling: "Run For Your Lives you... take one", from up in the control room. The first of five eventually recor­ded. George tuning his guitar for the instrumen­tal intro and that's it - nothing more, nothing less. A seventeen second 'studio-outtake'.

Track 13 On to the first recorded take of the basic rhythm racks for Day Tripper, actually an incomplete first try with count-in from Paul and lacking the tambourine and lead guitar. Having finished, John calls in: "Can we do it with double backing?".

Track 14 Takes #2 and #3. Two is a false start. Lt's Paul going straight onto take three, a vocal overdubbed version. A complete run-through, featuring a slightly different build and drawn out ending, foregoing the familiar rapid fade-out.

Track 15 The first recorded take of Paul's We Can Work It Out was a simplified all-instru­mental rhythm track. John: "I know how it goes, it's when it comes." Paul counting in for what seems a slowed-down version. Breaking down halfway through.

Track 16 The final overdubbed version, still lacking the right fade-out. This particular mix places the keyboards in a forward left channel position and splits the vocals onto both channels. Paul is on lead vocals with John providing har­mony for the bridge. Still not like the finished products to be mixed down on October 29. The Double A single Day Tripper - We Can Work It Out was first released in Britain on December 3, 1965.

The final tracks 17 and 18 on this disc three of saved Beatles recording sessions take us into the new year, April 1966. Busy taping tunes for their upcoming LP 'Revolver' the lads still found time to record the two sides of a new single, and again a Double A: Paul's Paperback Writer coupled with John's Rain. It took just two takes, and numerous overdubs onto chat last recorded second attempt, before producer George Martin called Paperback Writer a finished article. Both these takes are saved here to enjoy. John's new composition, Rain was finished in eight takes, one of which is included here. The single was first released on June 10, 1966 and of course topped all of the world's charts within weeks.

Track 17 Paperback Writer, takes #1 and #2. One is a basic tracks instrumental, breaking down halfway through: "Okay, here we go folks." A tapped intro from Paul. Take two is a clearly different mix from the commercially released version, lacking echo-effects on the vocals and a fade-out at the end. Also note George and John evoking their schoolboy memories of French lessons referring to Frere Jacques on the backing vocals.

Track 18 An unknown alternative take of Rain. A remixed version, putting John's lead vocals somewhere more in the background and Paul and George's backing vocals in the foreground.

The 3rd Recorded Hour Of The Let It Be Sessions

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Liner notes: