1966-04-06 and beyond, Revolver Sessions upgrades 7-22 June

[magoocus]

hxxps://drive.google.com/file/d/1_93XZpkE_9ZmYtbCTTySvyQgDqnSO3lg/view?usp=sharing

June 1st 1966 – Studio Two, 2:30pm-2:30am

01. Yellow Submarine – Take 5 stereo overdub of sound effects, from the Real Love cd single left and
right channels, which has the effects unfaded all the way through. "Easy, baby!"

02. Yellow Submarine – Intro, unused and incomplete, from the Real Love cd single.

[robbmacc]

Always felt that the spoken intro to Sub on Real Love single was edited poorly. There's either more on the front end, or it needed to be edited as an 'in' after Ringo says "Yellow Submarine"

[robbmacc]

Oh, also: Thanks for these interesting reconstructions...

[jpa]

Very much appreciated - thanks!

[Kwai Chang]

Always felt that the spoken intro to Sub on Real Love single was edited poorly. There's either more on the front end, or it needed to be edited as an 'in' after Ringo says "Yellow Submarine"

Concur! I think the REVOLVER Sessions (4CD) boot showed us the whole story...Mark 1(TNK) was probably the most plentiful of the INTERESTING scraps and the remainder seem to be committed in their fluent inability to be separated. In other words, All of the alternate ideas have already been ponged to a single track or buried/erased forever. It was their biggest surge of creativity and I reckon it was likely that 14 great songs were realized via 16 or 18 possible arrangements. In other words, most songs were conceived as complete obtainable visions. TKN is one idea that had variants. Got To Get You Into My Life had two variants. Taxman had even less. Obviously Yellow Submarine had even less. After that, I guess we don't know how the Rain bass/Lead Vocal got spared as a separate single track but it seems to be as released(NO variant). So, I have laughed at how the Anthology took a song with NO variants(?) and made it an alternate version. There just aren't any unused elements to begin with. That spoken intro by Ringo seems completely bastardized. If that intro didn't contain the words 'yellow submarine', I wouldn't consider it possible to have any connection. Too awkward! The rest of the album...Eleanor Rigby...no variants. I'm Only Sleeping(Anthology low points). Et Cetera!
Let's ask Magoocus! He'll know!(Thank you, Sir <-----NO variant)
KC

[magoocus]

I agree about the unused intro, it's not very well edited, like some of the rest of the Anthology material. ML says the recording is "as long as 31 seconds" and has at least 4 separate overdubs. So they spent a lot of time on it. We have about 17 of those 31 seconds, but if that's only how long the whole piece is, why not give us the whole thing? It doesn't make any sense. I don't think Emerick was the best choice for editing & mixing Anthology; Ken Scott would have been my pick. Or Normal, if he was still around & available.

[Darth Kybiel]

Always felt that the spoken intro to Sub on Real Love single was edited poorly. There's either more on the front end, or it needed to be edited as an 'in' after Ringo says "Yellow Submarine"

Concur! I think the REVOLVER Sessions (4CD) boot showed us the whole story...Mark 1(TNK) was probably the most plentiful of the INTERESTING scraps and the remainder seem to be committed in their fluent inability to be separated. In other words, All of the alternate ideas have already been ponged to a single track or buried/erased forever. It was their biggest surge of creativity and I reckon it was likely that 14 great songs were realized via 16 or 18 possible arrangements. In other words, most songs were conceived as complete obtainable visions. TKN is one idea that had variants. Got To Get You Into My Life had two variants. Taxman had even less. Obviously Yellow Submarine had even less. After that, I guess we don't know how the Rain bass/Lead Vocal got spared as a separate single track but it seems to be as released(NO variant). So, I have laughed at how the Anthology took a song with NO variants(?) and made it an alternate version. There just aren't any unused elements to begin with. That spoken intro by Ringo seems completely bastardized. If that intro didn't contain the words 'yellow submarine', I wouldn't consider it possible to have any connection. Too awkward! The rest of the album...Eleanor Rigby...no variants. I'm Only Sleeping(Anthology low points). Et Cetera!
Let's ask Magoocus! He'll know!(Thank you, Sir <-----NO variant)
KC

The spoken intro was an idea and from session tapes and quoted in the Beatles Recording Sessions book. Why it seems out of place here is most likely due to it not being preserved well due to being an idea they realized didn't work. It sounds out of place and lame, but the idea of the song to begin with was to mimic childrens records songs and what do you get? lame talking, and songs with sound effects. In my own oppinion Anthology's downfall was not giving full session outtakes and creating artificial outtakes ands versions all together. The money was there ro be made. Multiple dvd sets were sold of the video version. Would it have hurt to put out possibly a disc per year or per album? Even the boxsets show there is money there to be made per album. No one thinks of the group less for getting to hear occasional flaws. Most fans know their favorite groups work at achieving their final songs.

[Tex]

Always felt that the spoken intro to Sub on Real Love single was edited poorly. There's either more on the front end, or it needed to be edited as an 'in' after Ringo says "Yellow Submarine"

Lewisohn made it sound like all four Beatles said those complete lines, one on each track of the 4-track.

I think the Anthology mix used Ringo's voice only until the very end and then they turned up the others for the tail.

[magoocus]

hxxps://drive.google.com/file/d/1axVtUMUZBfE1ySUxK8YFiv1e0w4RESJU/view?usp=sharing

June 2nd 1966 – Studio Two, 7:00pm-3:30am

01. I Want To Tell You – The basic take has the guitar, piano and drums. TMF says a second
piano (the dissonant notes) was overdubbed, along with tambourine, onto the last track,
after the two tracks of vocals were recorded; put together onto one track during the
reduction. This instrumental version is rough in spots, utilizing both demucs3 model B to
remove the vocals, as well as UVR's piano model afterwards to attempt to separate the piano
from the rest to try to get a better representation of the basic take and then the overdub.
Since both results were fairly rough and did not produce a realistic split of the two tracks,
they were combined into a stereo mix with the piano on the right. The ending has remnants
of vocals left by demucs; however, it reveals just one of the vocal overdubs at the end
where Paul's descending vocal isn't heard while the other vocal track clearly is, with
George and Paul both holding sustained notes (George is a bit off key). Paul sings on both
vocal tracks then. A bit of this second vocal can also be heard at 1:30 and elsewhere,
Paul's high harmony. Beginning and ending are faded up.

02. I Want To Tell You - There were two tracks of lead and backing vocals, which were
combined to one during the reduction. A demucs3 model B treatment from the Disque Americ
cd; drier than the following stereo version. After hearing Paul's 2nd vocal on the above,
it becomes easier to discern during the fade underneath the other one.

03. I Want To Tell You - Bonus track, vocals in "stereo" (ADT on the left as on the record)
from the DA cd, split with demucs3B, with some additional processing and cleanup.

[jpa]

Thanks again!