Coming soon from Misterclaudel

[mikec]

Each label should have had put the only new stuff in ONE CD with the ‘Band on the Run’ tracks from Emerick, and that’s it; to avoid the extra talks about one or the other label that usually goes nowhere, especially IF some of you think that by releasing a few new tracks we should buy a second CD where everything was previously released: taken from Youtube, Misterclaudel and a CD1 filled with AI/Mogg mixes, and say that that’s a very good set or “a winner”; in the case of HMC of course, which “sells it” as “some stuff never released in this quality before”, which is a lie; contrary to the other label that I don’t see anywhere something like “this track is new, this track is from this, this track from that”, even the Emerick tapes doesn’t say they are those. A detailed info should have been much better on MC than to be guessing (or a 2CD set instead of 3 although it was less expensive than my 2CD set from HMC), but I think they were not trying to pass all the materials as outtakes just because some of you think of that (the previous Vaults have had the same contents, outtakes and demixes, isolations, hidden vocals etc, it’s common sense that all of these tracks are made with Atmos, AI, DTS, etc, same as it’s common sense that ALL the “instrumentals” on the HMC release are fakes even when as for today, nobody has used that word), because if that’s one of the things some of you are not pleased with, then the same description should apply to the HMC’s instrumental tracks trying to release them as “genuine rare mixes”. I know a lot of Beatles “outtakes” (and concert recordings cleaned with AI to sound better both vocals or instruments) created with Moggs, DTS, Atmos and AI that are floating around here and I don’t see the complains. By the folks saying “Girl’s School Take 1 was already circulating among my inner circle”, hey!! (first of all, congratulations), but It wasn’t on ANY Bootleg before, why some of you which already had it, didn’t share it here? Instead of demeaning if this was or not already circulating within some of you or in better quality; this is like when kids are trading or showing off stamps outside the school: “already have it , already have it, already have it” and when other kid has one that you don’t have, you say “nahh, not interested”. Now that MC just release it, HMC rushed his plans and they’re making the second volume sooner than they thought, and we are ready to buy 3 new tracks with maybe the rest of CD1 and a second CD2 taken from already know materials and maybe AI stuff (but we are going to say “great set”), and then a Third Volume with maybe 2 new tracks from other era filled within a 2-CD set with tracks from other Bootlegs but hey, good no matter what.

HMC finished his good streak of truly unreleased new materials when our friend passed away some years back ( some of you know who I’m talking about, no need to bring his name here, and he was the one selling the stuff to them since the early days of Bootleg-LP, until they couldn’t buy more and this friend started to sell to private collectors and a few months before his dead, also dealing with the Japanese. I kept the messages with him and his FB remains “open”). Getting the Emerick tapes leaked to bootleggers was most an act of luck and we thank for that to the private collectors who made the kind deal. There’s more stuff that didn’t went to auction we heard, please give us more.
Quoting words and critics regarding the MC set: “it sounds like they've just used some of the new AI apps out there… to give the impression that this is an upgrade of a demo we already had.”
Oh yes, that sounds very familiar, even without the use of AI, a label has been doing that since 2013, maybe before; let me give you some examples of that (which for me, some were very easy to ID while doing my reviews for Daily Beatle, or Universal)
-HMC TMOQ GAZETTE VOL. 8- Tug Of Peace (increasing the volume of the demo tapes but sell them to fans as upgrades)
-HMC TMOQ GAZETTE VOL. 24 –Ultimate Let it Be Companion (using fan-made videos taken from Youtube, Dailymotion and Vimeo and put them on sale to fans as true promo videos from X year; this was the easiest to ID as for the many years of my works with the Beatle’s record company, I was in charge of checking the video stuff)
-HMC TMOQ GAZETTE VOL. 45- Unfinished Music (using AI to make “perfect stereo” –according to them- of some demos in mono, but selling them as true demos in stereo coming from unbooted sources)
-HMC TMOQ GAZETTE VOL. 47 & 48 – Elstree (using AI to make “upgrade” tapes in stereo)
-“Lennon At Home” and “Living on B Time” (if my memory don't fail me now) uses some tracks directly from the official Lennon Anthology & Acoustic collections (sometimes increasing the volume), same as some tracks on his “Oddities” sets, but always selling them as unreleased or upgraded coming from unbooted sources. And I’m using the word “some”, cause of course not all they have released was this kind of fake. The usual “fillers” they always need to make 2disk sets.
-“Pure Lennon” from his sister-label PEAR contains some fake AI demos made into stereo but selling them as “From the Original Stereo Master Tapes”.
-“Beatles for the Good Measure” put on sale almost on HMC but changed to his sister-label Aunties Nuggets, selling it as “BBC upgrades tracks” but all tracks were taken from the official “Live at the BBC Vol. 2” set and the upgraded “Vol. 1” (official re-release with some changes of upgraded sources found by Apple), and Lord Reith’s tracks he shared at the old BZ forum (originally they tried to pre-sell them on a few forums and “Collector’s pages” as coming from some “recently discovered and unbootlegged tapes”, that was funny)
And the list could go on and on for both labels.

[csnyfan]

All bootleggers are equal but some are more equal than others.

[anthonybeat]

You can read tirelessly how Mikecarrera is vilifying the HMC label with his last words. Could it be related that he works for Universal? I suppose so. But it's just stupid to deny that the HMC label has given us a lot of new material in recent years.

[Rupert Pupkin]

Mike, I agree HMC is scratching the bottom of the barrel and I never doubted when I saw their new flyer, that the instrumental tracks of Band On The Run would be some stems instrumental mixes (call them fillers) like we have on the Voo-Doo set; they tend to "maximise" their rarities.

That said, I don't think that they created ex-nihilo some fake "unreleased" take.
take for instance "Muncho Mungo" on -HMC TMOQ GAZETTE VOL. 45- Unfinished Music (using AI to make “perfect stereo” –according to them- of some demos in mono, but selling them as true demos in stereo coming from unbooted sources)
this is the Dakota '77 take, but with an extra coda which was not circulating so far.
On Between The Lines this is sourced from composite sources to create the most complete take of this lovely demo, (using the LLTs) but this is the first time that this demo is in its entirety.
They could have released it earlier on their set, like their first digibook series "At Home", etc...
But it's undoubtedly a new source, at last, complete.
I won't call it previously unbootlegged, because 80% of this demo was already circulating minus this coda (truncated on the LLTs source), but I was happy to get the complete demo.
Just an example.
Of course, in comparison to all the previously unreleased material (such as Grow Old With Me, Solitude, etc...) on "At Home" makes this volume "Unfinished Music" pale (euphemism) in comparison.

Perhaps their process of "remastering" (in order to resell all their first digibook catalogue a decade later) in upgraded audio is "false advertising" to me (but it's in the hands of these label to built and keep their "reputation"), but we all learn to be prudent if not reluctant with all these labels (their are some good surprises sometimes, and when the first digibook series of HMC came out with the "Love" sessions, it was like we came out of a tunnel of almost 10 years of "disette" rarities for John Lennon). I bought them all and I was so happy to hear Grow Old With Me on acoustic guitar for instance.

And when I see on a flyer "take 1" "No Words" on the McCartney Misterclaudel, I'm expecting the instrumental early take of "No Words"; if this turned out to be a D.Atmos or A.I "reconstruction", then we are into something else.

[mikec]

Mike, I agree HMC is scratching the bottom of the barrel and I never doubted when I saw their new flyer, that the instrumental tracks of Band On The Run would be some stems instrumental mixes (call them fillers) like we have on the Voo-Doo set; they tend to "maximise" their rarities.

And when I see on a flyer "take 1" "No Words" on the McCartney Misterclaudel, I'm expecting the instrumental early take of "No Words"; if this turned out to be a D.Atmos or A.I "reconstruction", then we are into something else.

Regards my friend, one doubt as this is the second time I read you saying this, but, where do you see or saw that Misterclaudel advertised "No Words Take 1" ?? (not even the OMEGA auction says Take 1 or something about a Take 1) And, may I ask, did you downloaded the real deal? Because on both original Misterclaudel and HMC releases you are getting the early Instrumental version for the song that last TWICE as long as the released version, it's NOT any D Atmos AI reconstruction, both labels have the same version, the same that was auctioned, 10000% real Emerick Lagos tape.
Misterclaudel CD 1 Tracks 06 and 07 (labeled as 6.No Words #1 Run-through and 07.No Words #2 Instrumental), None as "TAKE 1".
HMC CD 1 track 06 (simply labeled as "Emerick tape")

Which flyer? The only label that did a flyer was HMC as far as I know.
that's from where false rumors start

[mikec]

You can read tirelessly how Mikecarrera is vilifying the HMC label with his last words. Could it be related that he works for Universal? I suppose so. But it's just stupid to deny that the HMC label has given us a lot of new material in recent years.

A lot of new, unique, wonderful and unreleased materials my friend, nobody is denying absolutely nothing...and fakes and AI stuff made at their early stages that nobody likes to talk about; and in recent days this is all about fakes according to all we are reading here and there, not what's good or really new. Both labels are doing their things, they don't care about me or other's complains especially if they come from people who don't buy originals. They make a silver pressed disc no matter if the source of the material is the Internet or an Mogg/Atmos file demixed, cause they will sell it to people that likes that stuff, who still buy originals and base his collection under "original stuff", no for the ones whose collection is all downloads or private tapes most of us will never hear. I have a pending cup of coffee that someone will arrange with HMC, so, don't you think I don't know that my words will reach all the team directly, I have respect for friends, just trying to be equal, you know me, that's my job, it doesn't matter if its Apple or the Lennon Estate or Bootleg labels but I'll stop for now. Regards Anthony, good to read you here too. Looking forward for the next release of HMC which we know are the ones who will release some of the pending Emerick tapes.

[RalseiDeltarune]

I've taken a look at the tracklisting on the back cover, and my god is it a confusing mess!

Pardon my french, but what the hell is "Band on the Run #1" supposed to mean? Take 1? RS1? Who knows!

Like Forrest Gump would say: "Misterclaudel is like a box of chocolates; You never know what you're gonna get. Mainly because they don't properly list what they are."

[mikec]

BAND ON THE RUN- THE LAGOS TAPES:
What is clear by doing a “back to back” or A/B comparison of the same materials from the two different labels, is that both used a different source.
For the ones thinking that the Misterclaudel release will become obsolete, think twice as the most complete Lagos tape is not with HMC.
This quick review was made using the original releases by each label.

HMC uses a copy someone made of the tape, choosing where to start and where to end each track and editing two of the songs; plus re-arranging the order of two tracks.
Misterclaudel used a different dub of this tape, perhaps a direct copy of the Emerick tape (there are no fade ins or outs between songs, or abrupt or “cold ends” like with HMC, as this tape seems to continue track after track), and is the longest.
The total length shown below for the tracks is exactly as they were pressed on silver disk, however that doesn’t mean the whole seconds are filled with the actual Emerick Tape. HMC ends all of his tracks earlier and the original “tape noise” is missing, but sometimes they also cuts actual sounds from that particular take or Rough Mix)

MAMUNIA
HMC: 4:54 (actual length 4:52 and with a fake edit/insert)
MC: 4:56 (actual length 4:55)
Both showing different volume levels. HMC uplifted the volume and his source starts directly with Paul’s “Three, Four” count-in. Misterclaudel starts with two seconds of tape noise, then Paul’s voice and Linda’s clearer than the HMC tape.
At 4:52, HMC’s tape cuts abruptly after Paul says something like “ehhppp”, while on MC, the tape doesn’t cut and hiss noise continues 3 more seconds; however, if we alienage both tracks to start exactly at the same time (HMC first and MC below), both tapes mismatch at 01:09 seconds. At first, it seems that MC is missing two and a half seconds of the tape, however, in the HMC version, at 01:09 until 01:12, there is an Edit; you can clearly (please use headphones) hear a differences in the tape at 01:09, specially a bad edit with the other tape with more hiss that ends at 01:12 , using the version from Band on the Run 50th to make the patch (and that version comes from a further Mix Emerick did weeks later, not this one that went to auction). Maybe the source who gave HMC this tape did the edit and they didn’t noticed it, but why don’t keep the tape as it was? Partial or not.

BAND ON THE RUN
HMC: 5:16 (actual length including a missing part 5:14)
MC: 5:21 (actual length with full track 5:21)
HMC track has the volume slightly uplifted. MC more balanced.
HMC starts directly when the tape machine rolled again while on MC continues with tape noise coming from the previous track and then the tape machine rolling again. There’s a cut (at 02:16) with HMC exactly in between Parts 1 and 2, missing 5 seconds of the actual track during the middle break. MC has it complete.
HMC ends abruptly at 5:12 during Paul’s “ah”, while on MC we hear the complete “ahhh” and you can still hear two extra bass notes and then noise of the tape until the end .

HELEN WHEELS
HMC: 4:00 (actual length 3:56)
MC (they have this song separate in two tracks (Takes 2 and 3), we have combined them both): 3:59 (actual length 3:59)
Again, HMC has the audio uplifted and you can hear a “cold end” on the tape at 3:56, while on MC the track fades out completely without any cut.

MRS VANDEBILT
HMC: 4:30 (actual length 4:28)
MC: 4:34 (actual length 4:34)
HMC has the volume during the song slightly uplifted, but not during the chat at the intro, and MC has it slightly inverted and with clearer vocals specially during the whole intro before the take starts.
HMC cuts in a “cold way” at 4:28 after one “Ho”, and on the other side, the MC tape continues for two more seconds and we can still hear two extra laughs very far and the tape continues with the usual hiss for 3 more seconds (until 4:30); and at 4:31 the tape noise changes increasing the sound (so this seems to be part of the next track’s intro when Emerick made the copy to this tape).

NO WORDS
This is where you see that HMC got their version from a different and inferior source, a fan that maybe re-arrange the tracks or made a mistake not placing them at the right spot, as the original Emerick tape has “MRS VANDEBILT” followed by “NO WORDS”, however on HMC, the next song is “Let Me Roll it”.
HMC: 4:26 (actual length 4:24)
MC (they have this song separate in two tracks, we have combined them both): 4:30 (actual length 4:30)
HMC with slightly uplifted audio except for the intro (like the previous track), and MC is vice versa. HMC ends abruptly at 4:24 during a final guitar lick while on MC the guitar lick can be heard complete as the tape continues.

LET ME ROLL IT
HMC: 4:59 (actual length 4:57)
MC: 5:09 (actual length 5:05)
The same slight increase of volume on each label for both the actual track and the intros. MC tape starts earlier with tape noise coming from the previous track as it seems is the same tape running without any cut. HMC cuts abruptly at 4:58 missing FOUR seconds of the actual performance of the song. MC has it complete and the tape goes for more seconds until at 5:05 you can hear the sound of a cut on the tape but the hiss noise continues for more seconds.

DRINK TO ME
HMC: 6:23 (actual length 6:21)
MC: 6:26 (actual length 6:25)
HMC starts almost directly when the tape start recording while MC has two seconds of tape noise before. HMC cuts “in cold” at 6:21, however this time only cuts a very slight echo of the “drum machine” doing the effects continuously throughout the song. MC has it complete until the tape ends.

The “extra” sound effects in the HMC release (that didn’t came from the Omega auction and there’s no information and verification from where they really came, or a photo of the Tape box etc), except for track 20 related with “Drink To Me”; lacks of any interest and could be anything (same as the Marc Bolan recording that is linked with “Drink to Me”, both available on the same tape). Sound effects from EMI’s library (tracks 15-17 and 21), annoying laughs taken from a Theater play (tracks 18 and 19) whose source is a vinyl of sound effects by the way, and none linked directly with Wings.

For those creating reviews (without doing a real verification) in favor of one label and demining the other, the real winner for the LAGOS TAPE is clearly not HMC.

[20YearsAgo]

I've taken a look at the tracklisting on the back cover, and my god is it a confusing mess!

Pardon my french, but what the hell is "Band on the Run #1" supposed to mean? Take 1? RS1? Who knows!

Like Forrest Gump would say: "Misterclaudel is like a box of chocolates; You never know what you're gonna get. Mainly because they don't properly list what they are."

Believe me, I understand your frustrations. Documentation is a weak point for this set. One of the reasons I loved the "Recording Vault" RRS and McCartney sets was because the documentation made it easy for listeners to understand EXACTLY what we were hearing.

[junca777]

Underdubbed Volume 1...

underdubbed 1 front.jpg

underdubbed 1 back.jpg

The listing seems really impressive ...

Does anyone here have this CD to download? Please send me an email

junca777@gmail.com

thanks