Peter Jackson and The Star Club Tapes.

[Lord Reith]

Slideshow with transcript:

hxxps://mega.nz/folder/45wxlIQQ#5foaA7_s0M2yzKZ4jQnGhQ/file/M1hW2K7Y

[ruedabeat]

Surprise us, Peter J, surprise us !

[Lord Reith]

I was reading an old article about these tapes today, and I came across the part where larry Grossberg owns up to having done overdubs on some of the songs. Well, we all know about the maracas on Till There Was You, but it reminded me that I think I forgot to ever mention that there is bass guitar overdubbed onto both Hallelujah I Love Her So and Be Bop A Lula. Paul's bass is also there, but very, very faint as it is on Red Hot and I Saw Her Standing there from the same set on the bootlegs.

Makes me think I should try and do something about it.

[robbmacc]

Go, man, go!

[Jens Terje]

Hear-Hear!

[Albert Grove]

I was reading an old article about these tapes today, and I came across the part where larry Grossberg owns up to having done overdubs on some of the songs. Well, we all know about the maracas on Till There Was You, but it reminded me that I think I forgot to ever mention that there is bass guitar overdubbed onto both Hallelujah I Love Her So and Be Bop A Lula. Paul's bass is also there, but very, very faint as it is on Red Hot and I Saw Her Standing there from the same set on the bootlegs.

Allan Williams used to play excerpts of the Hamburg tapes (from cassette) at the 1976 Norwich and Alexandra Palace conventions, but afaicr these didn't sound any better than what came out later on the album.

[WOA76]

I was reading an old article about these tapes today, and I came across the part where larry Grossberg owns up to having done overdubs on some of the songs. Well, we all know about the maracas on Till There Was You, but it reminded me that I think I forgot to ever mention that there is bass guitar overdubbed onto both Hallelujah I Love Her So and Be Bop A Lula. Paul's bass is also there, but very, very faint as it is on Red Hot and I Saw Her Standing there from the same set on the bootlegs.

Makes me think I should try and do something about it.

as i said on another post Ted Taylor said he told Record Collector evereything on tapes
I WANT hear NONE Beatles stuff like I know like hear other artist

I know in 1963 they started recording bands at The Star Club as alot love stuff I have two from Ted

This record collector articles never able get copy this

https://recordcollectormag.com/articles ... reel-story
https://recordcollectormag.com/articles ... recordings

from part 2"

"""WHAT IS ON THE ORIGINAL STAR-CLUB TAPE?

The Beatles’ contract for the Star-Club, 18-31 December 1962, stipulates that they should be on stage three hours a day, seven days a week and after an hour of playing, should have a one-hour break.

Frank Allen (Cliff Bennett & the Rebel Rousers/The Searchers): “Normally we would play maybe three or four spots between 6pm and 4am, and each spot was an hour. It was not the same time every night. A list would be put up giving the next day’s playing times.”

One hour on stage, including pauses between songs and on-stage chat, would mean that close to 20 songs would be performed per set. None of the recorded sections with The Beatles contain more than 10 songs, which means no complete performance by the band was caught on the tape.

When commenting on the original tape for Billboard in August 1977, Larry Grossberg said that at first he was surprised by the poor quality of the material. The tape included every hallmark of a crude amateur recording. There was hum, hiss, distortion, wow and flutter, background noises, performers too far off mike and so on, and he instantly understood it was going to be a long complicated process to restore the material. The technical notes also describe other flaws – tape dropouts, sometimes the recorder is stopped in the middle of a song (or is partially recorded over) and in a few instances some electronic interference can be heard, perhaps picked up by the microphone cable.

For the Lingasong releases in 1977, a lot of time, money and effort was spent cleaning up the recordings. The resulting product was very different to the original recording. The released songs are presented in totally different order and in several cases, where there is damage to the original tape or where there are incomplete songs; these have been reconstructed by looping or repeating sections.

With the on-stage dialogue, the more controversial segments have also been edited out. There has also been some overdubbing done to cover up technical flaws in the material. Finally the original raw tape is in mono, whereas the Lingasong discs are simulated stereo. """

[WOA76]

I was reading an old article about these tapes today, and I came across the part where larry Grossberg owns up to having done overdubs on some of the songs. Well, we all know about the maracas on Till There Was You, but it reminded me that I think I forgot to ever mention that there is bass guitar overdubbed onto both Hallelujah I Love Her So and Be Bop A Lula. Paul's bass is also there, but very, very faint as it is on Red Hot and I Saw Her Standing there from the same set on the bootlegs.

Makes me think I should try and do something about it.

about Overdubbs
https://recordcollectormag.com/articles ... recordings

Larry Grossberg: “We did some overdubs live in the studio and then mixed the additional and new parts into the tape. We also did some minor instrumental and vocal overdubs and added hand clapping to reconstruct many passages as the content had so much loss and aberrations.”

The backbone for the review is Larry Grossberg’s Studio log. The log is produced from three four-track references tapes transferred directly off the original tape. Of importance to clarify is that four-track recorders, like Kingsize Taylor’s were configured so that the first track recorded on side one was track 1 and the second track 3. Side two would hold tracks 2 and 4. For this article they are however presented in the recorded track order (1, 2 …) with original position on tape presented in brackets.

The first section on the tape (see Section A box below) starts quite suddenly and ends the same way. Even though these are the first recordings on the tape they may well be among the last recorded. It appears that this wasn’t an ordinary night at the Star-Club. The club is packed with people and the audience is in high spirits. Apparently, during this particular night there is an open stage with everyone’s joining in on each other’s acts, something not very common according to Brian Johnson of The Strangers (who shared the stage with The Beatles at Star-Club that December). Could it be that it is The Beatles’ last night at the club, New Year’s Eve 1962? Another clue to this being New Year’s Eve might be Paul McCartney’s reference to “there’s not much time…” Could he be referring to the stroke of midnight coming up?

Of most interest in this section is the rather dynamic version of My Girl Is Red Hot, which unfortunately ends rather abruptly after only about a minute when the tape recorder is turned off just after the Hammond/guitar solo. Joining The Beatles on stage for this song is Roy Young.

The audience for this set is rather loud and enthusiastic, something not heard on the other recorded segments. Because of this, when preparing the material for release, Larry Grossberg and his team were forced to artificially reinforce the crowd’s cheers for other performances. This was made by adding applause and cheers live in the studio or by overdubbing sections of disconnected applause from the original tape.

[WOA76]

in the early 80s, a Woolco shut down and a CD of The Beatles in Hamburg was on sale from $30 to $5 so I got it I had no CD player and my friend put on his place and copy to tape
What I heard was just like John said RAW I said to myself, wow and Star Club stuff became a hobby I have a lot records and cd on it over the years

then I got a bootleg of songs that WERE NOT on official records and as Lou said sounds not like ones i know

over the years become friends with King Size Ted Taylor thought a friend in Liverpool there's a lot of stuff he told me as he live in Germany till his death with his wife and came back to the UK sadly in January 2023 he pass away...I miss our chats, nice man.....

But getting back to Tapes THEY even pass stuff of that was 100% NOT the Beatles like Hully Gully (on Sony set Blue Vol 1 and REd Vol 2) is a great song knew to want them If I recall by Cliff Bennett & The Rebel Rousers.


There set out there I want a real copy as Live At The Star Club 1962-Raw Tapes Misterclaudel MCCD 473
SOMEONE sent this to Ted and he said this one the FULL reel the tape with their performance is from December 31st, 1062 into 1963 its on that set I have mp3 if hear Ted act you see Twist and Shout a lot like the Beatles on Please Please Me


Also in 1963 on they taped alot acts at Star Club one told find is King Size Taylor And The Dominos side two and other side has Bobby Patrick Big Six (
Liverpool Beat - Star-Club - 1963
https://www.discogs.com/release/3365739 ... -Star-Club

[WOA76]

I have Live At The Star Club 1962-Raw Tapes Misterclaudel MCCD 473 in 128 mp3 [love find flac copy and full artwork) but something to note
Kingsize Taylor & The Dominos
Disc 3 - Track 13 Do You Love Me

at 2:50 " Thank You Very Much Ladies & Gentlemen, I like Welcome you to the ??? the good year 1963, right now it's about a quarter after one that's about an hour and 15 mins into this NEW YEAR...."""

there are a total of 17 tracks for Kingsize Taylor & The Dominos and Horst Fascher-announcement them so if math is done and not good at it from knowing time at the end track 13 know they went on

Also, the mic was a single one hanging over the top of the stage right to Ted's reel to reel...