MrP wrote: ↑Mon May 09, 2022 6:20 pm
i assume it has been pointed out prior but i did not read the entire topic to verify
but the 1966 calender matches that of 2022
so you not only match dates but days of the week also
What happens in Life is already written. The best a person can do is to move through it as their destiny wills!
And, now...is as then, the fabric of time must be ripped, stretched and frayed to allow newer and larger insight to be perceived, channeled, created and captured. If the forces of Nature are at work then the Beatles were a reptile that had outgrown its skin and thus began the shedding process. Is there any creative transition more liberating than the one from Candlestick concert to the beginning of these sessions. Same Universe...different vantage point...but, where are we? If Candlestick felt like the confines of a coffin, then they probably never realized it was actually a womb and that they were about to be reborn into 'the void'! Likewise, Klaus Voorman might not have been aware of what he was creating to decorate this symbolic rebirth...but ALSO sublime...an album cover completely devoid of color, that suggests that The Beatles were now into their own heads!
Color = Sound
REVOLVER = Rebirth
End = Beginning
Thank you, Magoocus!
KC
On this day only some mono mixes. I didn't upload anything because we all have them. The lads are off the rest of the week.
May 12th 1966 – Studio Three, 1:45pm-3:30pm
Capitol requested 3 songs for Yesterday And Today, GM obliges by mixing these 3 for mono (because
they are already finished). Had they waited a bit (June 10th release date) Paperback Writer and
Rain could have been used instead and not have to "butcher" the US Revolver album so much.
01. Doctor Robert – US mono mix RM4 edit.
02. I’m Only Sleeping – US mono mix RM5.
03. And Your Bird Can Sing – US mono mix, edit of RM7 and RM8.
magoocus wrote: ↑Thu May 12, 2022 5:56 pm
On this day only some mono mixes. I didn't upload anything because we all have them. The lads are off the rest of the week.
May 12th 1966 – Studio Three, 1:45pm-3:30pm
Capitol requested 3 songs for Yesterday And Today, GM obliges by mixing these 3 for mono (because
they are already finished). Had they waited a bit (June 10th release date) Paperback Writer and
Rain could have been used instead and not have to "butcher" the US Revolver album so much.
01. Doctor Robert – US mono mix RM4 edit.
02. I’m Only Sleeping – US mono mix RM5.
03. And Your Bird Can Sing – US mono mix, edit of RM7 and RM8.
these were officially released mixes - look for these on the US MONO Yesterday and Today album.
01. Taxman – Take 12 overdub – This is supposedly where the count-in was added, but the
count-in is already present on take 11 on Anthology, and RS says this was an SI and not
an edit. Perhaps this is where they're trying to "fix" the coda after having decided the
RM1 ending (on the acetate) wasn't going to work, and George’s final "...me" was added on
top of the repeated guitar solo section. It isn’t the same as any other "...me" on take 11
and thus couldn’t have been edited in from anywhere. Demonstrated on this track in four
brief sections: the 3 me's from the first verse, ending of take 11, and ending of take 12,
followed by the guitar solo section from the middle of the song at the edit point, on which
the final "...me" would have been superimposed on the (empty at this point) vocals track.
Remixed for mono afterwards, RM2-5. ML says the final mono version on 21 June was an edit
of RM5 and RM6; RM5 must have been the best mix of the full song on this date, RM6 a new
mix polishing up the coda (RM3 or 4 could have been an early mix of the coda only).
02. For No One – Lead vocal overdub isolated from the Anthology center and LFE channels,
slowed by a half semi-tone as it was originally recorded.
03. For No One – Reduction mix take 13 was unused but we do have a monitor mix.
01. Got To Get You Into My Life – Stereo brass overdub excerpt from Anthology front channels,
with vocals removed by demucs3B; remixed. This SI must have erased the two latest vocal tracks
(this disagrees with what ML says in both of his books) because the guitars are still present
at this point, as we hear them on the LOVE pre-show instrumental, which must be a playback/mix
of take 8 prior to the subsequent reduction into takes 9-11.
02. Got To Get You Into My Life – Full brass overdub onto take 8 from a demucs3B separation of
the Disque Americ cd. In the reduction mix the two tracks of brass were then combined to one.
The guitars were abandoned at some point and not used as part of the reduction, but overdubbed
again a month later on the last part of the song only, as we hear on the record. The LOVE 2016
track (on 1966-04-11 when the guitars were recorded) is the state of the song up to this point.
03. Got To Get You Into My Life – Organ, tambourine and two lead vocal overdubs, from
another demucs3B separation that with an oops produced a solo tambourine track (although it's
on one of the vocal tracks, as is the organ at the end). This track gets fairly bad after the
guitar break (there are remnants al the way through) so the ending is edited on from a stereo
center channel isolation, with the fadeout faded up. The vocal goes to single-tracked after
the guitar break because the guitars have been punched in over the other vocal, but the last
part of that vocal remains and is used on one of the two final mixes. The stereo and mono mixes
use different vocals at the end; in stereo it's "every single day" with the organ, in mono it's
"every single day of my life."
04. Got To Get You Into My Life - the vocals from the mono mix (red wax lp rip - longer fade
than the mono remaster), pulled off with demucs3B. The fade (faded up) is also longer than the
stereo, with extra (and different) vocals. The ending was faded up prior to running demucs3B
to catch that last "you didn't run" bit.
05. Got To Get You Into My Life bonus track, the vocals from the two mixes synced up in an
attempt to possibly separate them in case the volume balances were different in the two mixes
(they weren't and it didn't work). A hair off at the beginning, they sync up almost perfectly
about half way through. Vocals from the stereo on the left, vocals from the mono on the right.
At the very tail end of the mono mix vocals it sounds like the 2nd vocal track briefly joins
back in.
