Add New Feed
X
RSS URL    
Please insert a full address, for example: http://www.yourrsswebsite.com/rssfeed
Page source: http://jfnmusicmemories.blogspot.com/feeds/posts/default 

Want to be informed when this page is updated? Enter email here   Notify me       
X
Please note that content update alert service is much better then adding a page to favorites.

Once this page content is updated you'll receive an e-mail with a link to this page

Please enter email here
      
No thanks, continue to add to Favorites
jfn Beatles Music & Memories
Add To Favorite

305855




In November 1968, George Harrison released 'Wonderwall Music'. A soundtrack to an art film called 'Wonderwall' this predominantly Indian music collection was the first solo album to be released by a Beatle and also the first album on the newly formed Apple Records. George would continue to release albums on Apple (and EMI) through to 1975's soul-influenced 'Extra Texture (Read All About It)' touching on experimentalism with 'Electronic Sound', the magnificent triple album 'All Things Must Pass', the chart-topping 'Living In The Material World' and the, perhaps, less well-known 'Dark Horse'. This box brings all these eclectic albums together in one set that mirrors 2004's 'Dark Horse Years' box set and will contain a perfect bound book with a DVD. All albums have been remastered by Dhani Harrison and Paul Hicks and all will be packaged in high-quality card packs and all albums, apart from 'All Things Must Pass' and 'Living In The Material World' contain newly written notes by Kevin Howlett. The DVD contains a brand new, never before seen video which has been painstakingly overseen by Olivia Harrison and all packages contain new photos many never seen before.





George Harrison's first six solo albums are being reissued as a box set called George Harrison: The Apple Years 1968-75. Those albums, from his days on The Beatles' label Apple Records, were I think his strongest, most interesting records: Wonderwall Music, Electronic Sound, All Things Must Pass, Living in the Material World, Dark Horse and Extra Texture (Read All About It). Though I liked something about all the post-Beatles George Harrison records (there were 12), I found those first half-dozen records to be a window into a famous guitar player and songwriter we hardly knew.
Those first two albums, which he did while still a Beatle, were like very few albums out there in the world of pop in the late 1960s. Wonderwall, released in 1968, was a soundtrack album, the first album on Apple Records, and was a response to Harrison's time in Bombay. Electronic Sound was his explorations on a Moog synthesizer. All Things Must Pass is his masterpiece and highlighted Harrison as a prolific emotional songwriter.
His final three records on Apple were all strong. Today we have a bonus track from the reissue of Extra Texture (Read All About It), an alternate version of one of my favorite songs from that album, "This Guitar (Can't Keep from Crying)." The recording was done in 1992 as a demo for Eurythmics' Dave Stewart, who recorded electric guitar on it at the time. The song itself is a sequel of sorts to Harrison's masterful tune "While My Guitar Gently Weeps," a song recorded with The Beatles that featured a brilliant guitar solo from his buddy Eric Clapton. "This Guitar" is a reaction to poor and sometimes scathing reviews, including ones from Rolling Stone that Harrison received when he toured in 1974 ignoring his Beatles legacy in favor of Indian Classical music and his new music.
Learned to get up when I fall
Can even climb rolling stone walls
But this guitar can't keep from crying
This here guitar can feel quite sad
Can be high strung, sometimes get mad
Can't understand or deal with hate
Responds much better to love
For the reissue, this version of the song got overdubs from George's son Dhani Harrison on guitar, Ringo Starr on drums and Kara DioGuardi on vocals. Dhani Harrison also oversaw the reissues. All of the records have been remastered from the original analog tapes and feature bonus tracks, booklets and a DVD. The box set comes out on Sept. 23, but you can pre-order here.

Source: http://www.npr.org/blogs/allsongs/2014/09/10/347156982/george-harrison-this-guitar-cant-keep-from-crying


.



San Francisco said goodbye on Thursday to Candlestick Park -- the stadium where the city's beloved Giants and 49ers celebrated some of their greatest triumphs.

The storied venue shut down after an evening concert by former Beatle Paul McCartney that finished around midnight. It will then be demolished to make way for a housing, retail and entertainment development.
The Stick, as it is known, opened more than 50 years ago and served as the home field for the 49ers and Giants. It hosted greats from both teams, including Joe Montana, Jerry Rice and Willie Mays, and was the site of The Catch -- Montana's touchdown pass to Dwight Clark to win the NFC championship game in January 1982 that sent the 49ers to their first Super Bowl.


The Giants played their last game at Candlestick in September 1999. The 49ers will play at a new stadium about 45 miles south starting this year.
Candlestick was also the site of a 1987 mass by Pope John Paul II and the Beatles' last live concert in 1966.

"Anyone you talk to about Candlestick Park is going to have mixed emotions about it: It's not a pleasant place physically. It gets windy and cold, but it's where the Giants and 49ers played for so many years," said Greg Breit, 50, before the concert's start. "There's so much history here. You can't deny it."
Fans savored the final event at The Stick by holding tailgate parties and taking snapshots of the stadium before the late-afternoon fog rolled in.


San Francisco police warned people attending Thursday's concert not to take any chairs or other mementos from the stadium, saying anyone caught with such items could face vandalism charges.


"We don't want people to be trying to take any pieces of Candlestick Park," officer Gordon Shyy told KGO-TV. "Just come enjoy the concert tonight and have a safe night."

Source: http://www.billboard.com/articles/news/6221743/paul-mccartney-closes-san-franciscos-candlestick-park

You can hear this concert in full here:
http://tela.sugarmegs.org/MostListened.aspx


July 16, 2014 9:00 AM ET Ron Howard,Courtesy Imagine Entertainment When Ron Howard was 9 years old, he was already a national television star on The Andy Griffith Show – and there was only one thing he wanted for his next birthday. "The gift that I was begging for was a Beatle wig," he tells Rolling Stone with a laugh. "And on March 1st, 1964, that's what I got: the Beatle wig of my dreams."

Now the Academy Award-winning director is coming full circle with his Fab Four obsession, having signed on to direct and produce an authorized, as-yet-untitled documentary about the touring years of the band’s career (approx. 1960-1966), a period in which the Beatles crossed the globe, sparked Beatlemania and released several classic albums (including A Hard Day’s Night and Rubber Soul). For it, he will interview surviving members Paul McCartney and Ringo Starr, as well as talk with Yoko Ono and Olivia Harrison (wife of the late George Harrison).

"What's so compelling to me is the perspective that we have now, the chance to really understand the impact that they had on the world," Howard says. "That six-year period is such a dramatic transformation in terms of global culture and these remarkable four individuals, who were both geniuses and also entirely relatable. That duality is something that is going to be very interesting to explore."

Howard is joined by Nigel Sinclair, the Grammy-winning producer behind the documentaries George Harrison: Living in the Material World and No Direction Home: Bob Dylan, as well as the producers Brian Grazer (Apollo 13, Get on Up) and Scott Pascucci (George Harrison). They will have access to the vast archives of Apple Corps, the Beatles’ company, as well as incorporate fan-sourced amateur video footage to recreate previously unseen concerts. It's Howard’s second music documentary, following last year’s Jay-Z festival film Made in America.

"We are going to be able to take the Super 8 footage that we found, that was all shot silent. We'll not only be able to digitally repair a lot of that, but we've also been finding the original recordings," explains Howard. "We can now sync it up and create a concert experience so immersive and so engaging, I believe you're going to actually feel like you're somewhere in the Sixties, seeing what it was like to be there, feeling it and hearing it. And as a film director, that's a fantastic challenge."

Sinclair says the team has already unearthed some surprising footage from the Beatles’ final concert at San Francisco's Candlestick Park in 1966. "Their last concert in ’66, when they were probably the most famous people on the planet, [they] ended up carrying their own amps onstage. I think that’s almost emblematic of the charm of this story," he says. Also a longtime Beatles fan, he saw the band in Glasgow in 1964. "It was a memory to treasure."

The film will also explore the "multigenerational quality" of Beatles fandom, according to Howard. "I hope we find some of that in the footage," he says. "We may have a shot of a boy or a girl very early in their life at a concert, and then we may be able to find them today and talk to them, and talk to their grandchildren and see what their relationship is with the Beatles, and understand how multiple generations find tremendous value and relevance in their music."

The documentary is scheduled for a tentative late-2015 release, and Howard says he is eager to begin interviewing McCartney and Starr. Turns out, he has a history with his heroes; half of the band met him on the set of his hit 1970s sitcom Happy Days. "We got word that John Lennon wanted to come by and bring his son [Julian], and he was a big Fonzie fan. I managed to sneak in a picture," he recalls. "He was graciously cool, but mostly it was for his kid, which we all really appreciated."

Howard adds, chuckling, "A year or so later, Ringo and Keith Moon wandered by. I don't know what they were doing in the lot, and I'm not even sure they knew where they were, but they seemed happy to be there."

Source: Read more: http://www.rollingstone.com/music/news/ron-howard-directing-new-beatles-doc-focusing-on-bands-early-years-20140716#ixzz37w28bbfe
Follow us: @rollingstone on Twitter | RollingStone on Facebook


There should be a law that “A Hard Day's Night,” which was just re-released by the Criterion Collection on DVD, should never be allowed to go out of print. It is a movie that was a landmark film when it was released in 1964 and still is today.
Movie critics, including the late Roger Ebert, praised it to the skies. “It was clear from the outset that 'A Hard Day's Night' was in a different category from the rock musicals that had starred Elvis and his imitators,” he wrote in “Roger Ebert: The Great Movies.” “It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white semi-documentary style that seemed to follow the boys during a day in their lives.”

The new Criterion DVD does what the company is famous for – present movies in an intelligent setting for film fans. It starts, of course, with the movie, which looks absolutely fantastic, sharper and cleaner and than ever thanks to a transfer from the original negative.

The audio got a big improvement with this new DVD over the previous Miramax version, which only featured a mono soundtrack. The new DVD features both a Dolby stereo and 5.1 surround audio supervised by Giles Martin. His mix makes the music sound dimensional.

The new DVD reorganized the special features from the Miramax set and includes most, though not all. Some of the DVD-ROM interviews on the Miramax set have been incorporated as commentary. Also included is “The Making of 'A Hard Day's Night,'” which included comments by Ebert and Roger McGuinn, plus Phil Collins showing where exactly he was in the movie.

Two of the new features are especially great. “The Road to 'A Hard Day's Night'” is an interview with author Mark Lewisohn about the history of the movie. The new DVD also includes an over-the-film commentary taken from a discussion from the special features of the Miramax DVD. Not that it's bad, but since it was not made specfically for a commentary track, it sounds disjointed since few of the comments match what's happening onscreen. There's also a new feature called “Picturewise” that looks at Lester's movie style.

There are two versions of the release: a single disc regular DVD and the dual-format version that includes Blu-ray and two regular DVDs which include everything on the Blu-ray. Spend the extra and get the dual-format, which also comes with a great little book with an interview with Richard Lester and rare movie pictures, some in color. You won't regret it.

But don't get rid of that Miramax DVD just yet. While it was criticized in some circles and unfairly for the overabundance of special features, a strange complaint, some of those features are missing in the new DVD, among them access to the shooting script. And the video for “I'll Cry Instead” from the original MPI DVD (and the earlier Voyager CD-ROM) isn't here, either.

Criterion has a respected reputation for its film releases. “A Hard Day's Night,” which will be released in England July 21, is no exception and well worth getting.
(Note: Pattie Boyd will appear at a special 50th anniversary screening this Sunday at Catalina Island in Southern California. You can find information here. Also, "A Hard Day's Night" will open a special theatrical engagement July 4. The theaters are listed on the Janus Films website.)

Source:




The 1964 screen debut of The Beatles became a cultural phenomenon. Take a look at scenes from the movie. Bruce and Martha Karsh/Janus Films. Rock movies were never the same after "A Hard Day's Night."


The 1964 screen debut of The Beatles was meant to cash in on the wave of Beatlemania sweeping the band's native England and produce a soundtrack album that American movie studio United Artists could market through its music division. It did that and more: Like its stars, the movie became a cultural phenomenon.
"It elevated the art of the pop-music film," said Beatles biographer Mark Lewisohn, author of "Tune In: The Beatles: All These Years." After a string of peppy jukebox musicals in the late 1950s such as "Rock Around the Clock," the Beatles film set a new standard. "It was the first of its kind to treat the subject with some intelligence and a more sophisticated level of humor."


Janus Films will release a digitally restored version of the film in about 100 cities on July 4, commemorating the 50th anniversary of its premiere at the Pavilion Theatre in London's Piccadilly Circus. The Criterion Collection released a DVD/Blu-Ray edition Tuesday.
"This is the film where we literally get to meet the Beatles," said Peter Becker, president of The Criterion Collection and a partner in Janus Films. The distributor, which released Academy Award-winning "The Great Beauty" digitally to theaters, said a digital projection of the Beatles movie allowed for a much wider simultaneous release than a film version. "It just plays like gangbusters," he said.
The loose-limbed comedy, directed by Richard Lester, follows the Fab Four—Paul McCartney, John Lennon, George Harrison and Ringo Starr—as they travel from Liverpool to London for a TV performance. Antics ensue, many instigated by a mysterious older man (Wilfrid Brambell) that Mr. McCartney claims is his grandfather. Mr. Starr goes on a walkabout. And when they're not singing, or on the run from screaming fans, the performers riff as only slightly exaggerated versions of themselves—making the most of clever one-liners concocted by screenwriter Alun Owen. 


The movie made an impact on generations of Beatles fans. Some of them grew up to direct their own pop-oriented films.

"To me it's probably the greatest rock film ever made," said Morgan Neville, a longtime director of music documentaries whose "20 Feet from Stardom" won the Academy Award this year. "There were a thousand ways that movie could have gone off the rails, but every other pop band since has tried to make it."
Mr. Neville credits much of the movie's success to Mr. Lester. The American filmmaker, then known for his work with British comedians Peter Sellers and Spike Milligan ("The Goon Show"), infused the film with a spirit of "sheer humor and anarchy," Mr. Neville said. It anticipated the work of ensembles like Monty Python's Flying Circus. "He was really at the forefront of the British new wave." Mr. Lester's inventiveness was such that when Lennon was unable to appear in part of the "Can't Buy Me Love" sequence, which was shot outdoors, the director stood in for him: He put on the absent Beatle's shoes and pretended to be Lennon holding the camera.


The film version of "A Hard Day's Night," whose title was taken from one of Mr. Starr's off-the-cuff comments and became the last song written for the film, has many other distinctions. One of the most conspicuous is the group's thick Liverpool accents. "The biggest pop star in Great Britain before the Beatles, Cliff Richard, had adopted a mid-Atlantic accent in the hope that he would be more acceptable to Americans for not sounding completely English," Mr. Lewisohn said. "The Beatles said, 'Here we are and this is us and you can take it or leave it.' Everyone took it."
The seminal Beatles film "A Hard Day's Night" is hitting more than 100 theaters July 4 in a digitally restored version. WSJ contributor Steve Dollar joins Tanya Rivero with a look at the revival of the 1964 classic and its influence. Photo: Janus Films 


The film also reveled in running jokes and sight gags that might slip by a casual viewer. The elderly gent played by Brambell is continually referred to as "clean." As an actor, he was better known as the grubby lead in the BBC comedy "Steptoe and Son," the basis for the American series "Sanford and Son." And in a moment typical of the film's attitude, there's a glimpse of John Lennon with a bottle of Coca-Cola raised to his nose. "Sniffing coke," Mr. Lewisohn said. "It's just there and it's gone."
Some of those subtleties may be more apparent in the restored film, which includes a soundtrack remixed for stereo and surround formats by Giles Martin, son of Beatles' producer George Martin. To ensure the highest fidelity, Mr. Martin went back to original source materials, including stock sound effects that were archived by the BBC. 


In other instances, the producer enlisted a little help to stir some extra Beatlemania. During the performance at the end of the movie, he instructed co-workers to shout out the names of individual Beatles, which weren't very audible in the film amidst all the shrieking. 


"There's a little girl who does the Internet here," Mr. Martin said. "She's the quietest character. She went ballistic. 'PAULLLLLL!!!'"
Despite such enduring enthusiasm, Mr. Martin was mindful of not overdoing it. "You want to have a feeling like you're there," he said. "But I'm not remixing a Michael Bay film."

Source: http://online.wsj.com/articles/a-digitally-restored-hard-days-night-1403814666



 

 

REVIEW: "A HARD DAY'S NIGHT"- RESTORED 50TH ANNIVERSARY THEATRICAL RELEASE 

 


By Mark Cerulli
After a meticulous 4K restoration by none other than the Criterion Collection, the Beatles’ first film, A Hard Days Night, was unveiled at LA’s Raleigh Studios. Yes, the image was crisp and clean, not a smudge or scratch in sight. (No surprise there as the film’s director Richard Lester personally approved the restoration.) And yes, the music sounded glorious in a new 5.1 mix. In fact, George Harrison’s iconic opening riff on the title track just about knocked this Cinema Retro scribe off his seat! But what was really special about this whimsical film was watching it through the prism of fifty years. From frame 1, we know how we lost both John Lennon and George Harrison. We are living with climate change, al-Qaeda, overpopulation and deforestation, so this movie is a welcome relief, capturing a simpler time in a quainter London which was then still throwing off the shadows of WW II. Most importantly, the film delivers The Beatles in close-up after close-up – all are young, strong and so full of life. To say they “stole the show” doesn’t apply, they ARE the show. The plot, about the trials and tribulations of getting the white-hot group to a live performance is basically filler between musical set pieces, but it earned writer Alun Owen a 1965 Oscar nomination. George Martin’s thumping score also landed an Oscar nod.






Along for the ride is Paul’s cranky grandfather (Wilfrid Brambell) who keeps the band and their managers (dour Norman Rossington and goofy John Junkin) on their toes. Odd looking and angular, Brambell, a major UK TV star at the time, was a sneering contrast to the Fab Four’s glowing charisma.




The film is as much about movement as it is music. The band is always on the move, - on foot, in trains, cars and a helicopter. Richard Lester’s cameras are on the move as well, with numerous hand-held shots and a beautiful aerial sequence where the band escapes a stuffy rehearsal to mess about in a playing field accompanied by Can’t Buy Me Love. With much of the dialogue improvised on the spot, A Hard Day’s Night has a breezy, cinéma vérité feel that obviously worked for its stars as they seem to be having a blast from start to finish.


When The Beatles finally go “live”, the climactic concert delivers vintage “Beatlemania” in all its screaming glory. The lads blast out Tell Me Why, If I Fell, I Should Have Known Better and She Loves You, intercut with an audience full of hysterical teens and the show’s harried director (Vincent Spinelli) having a meltdown in the control booth. It’s all innocent, upbeat and just simply, fun. Are there plot holes you could drive a double-decker bus through? Sure. But who cares? For a brief shining moment the Beatles are together again and all is well with the world.


On July 4th, Janus Films will re-release this restored version of A Hard Days Night in more than 50 cities across America.








With an audiophile audience in mind, The Beatles’ mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios. While the corresponding CD boxed set from 2009 was created from digital remasters, these new vinyl versions have been cut without the use of any digital technology.  Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging


London – June 16, 2014 – The Beatles in mono

This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. On September 8 (September 9 in North America), The Beatles’ nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks will be released in mono on 180-gram vinyl LPs with faithfully replicated artwork. Newly mastered from the analogue master tapes, each album will be available both individually and within a lavish, limited 14-LP boxed edition, The Beatles In Mono, which also includes a 108-page hardbound book.

The Beatles, 1968. © Apple Corps. Ltd.

In an audiophile-minded undertaking, The Beatles’ acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.

Working in the same room at Abbey Road where most of The Beatles’ albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.

Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging. The boxed collection’s exclusive 12-inch by 12-inch hardbound book features new essays and a detailed history of the mastering process by award-winning radio producer and author Kevin Howlett. The book is illustrated with many rare studio photos of The Beatles, fascinating archive documents, and articles and advertisements sourced from 1960s publications.

Available now for preorder at www.thebeatles.com.

The Beatles In Mono
* Available individually and collected in a limited 14-LP boxed edition, accompanied by an exclusive 108-page hardbound book.
  • Please Please Me
  • With The Beatles
  • A Hard Day's Night
  • Beatles For Sale
  • Help!
  • Rubber Soul
  • Revolver
  • Sgt. Pepper's Lonely Hearts Club Band
  • Magical Mystery Tour
  • The Beatles (2-LP)
  • Mono Masters (3-LP)

"The Beatles", affectionally known as "the White album". © Apple Corps Ltd.



Official promotional film for the mono vinyl releases.


The prices from Amazon in USA for the boxed set is $409.26, single-LPs are $26.60, the 2LP "The Beatles" $43.97 and the 3LP "Mono Masters" $77.52.

Official press release.

Source: http://wogew.blogspot.com/2014/06/the-beatles-mono-vinyls-press-release.html


Just when you thought that everything that could be said that was new, fresh, or unusual about the Beatles' later history was already out there, along comes The Beatles: Unplugged, a bootleg CD so good that the folks at Apple and EMI ought to be kicking themselves for not thinking of it first. This disc (which is sort-of subtitled "The Kinfaun-Session," referring to George Harrison's Esher home) pulls together the 23 songs that Harrison, John Lennon, and Paul McCartney recorded as works-in-progress at Harrison's home in May of 1968. Most of what's here was eventually heard either on The Beatles [White Album], or various solo works ("Child of Nature" surfacing with new lyrics as "A Jealous Guy," etc.) or B-sides ("What's the New Mary Jane"), and on various bootlegs. What makes this presentation better than most is that it's part of that "digipak" bootleg series that's been coming out of Europe since late 2000 and generally knocking listeners out with its quality. The production here is a match for any legitimate release, not just in sound quality but also the care that went into the selection, order, and editing of the tapes; there's some hiss here and there, to be sure, and a few tracks are close to overload on the sound, but there's nothing here that will make you jump to lower the volume or skip to the next cut -- in fact, chances are most of the songs here will get repeated more than once. It's a lot like listening to an "unplugged" version of The Beatles (even re-creating The Beatles [White Album]'s packaging), since most of it is represented here, and in excellent form. Indeed, the version of "Revolution" on this disc -- just to cite one example -- is as good as the released one, only brighter, and, if you will, bouncier, as the trio has unbridled fun with the lyric, the beat, and the rhymes without the need to pump up the wattage or the seriousness of it all; if the finished song is John Lennon's message to the world about politics, hate, and manipulation of the Beatles, this is his handwritten draft of that message, with all of his momentary digressions and mental edits left in. McCartney and Harrison's songs are just as well represented, and the only thing missing is a contribution by Ringo Starr, who didn't participate in these recordings. The curious element is that it's the hard-rocking songs -- "Yer Blues" and "Back in the USSR" -- that come off the best, even though they're the most different from the finished versions; the demo of "Ob-La-Di, Ob-La-Da" is just as entertaining, as the trio plunges headfirst into reggae armed with just their guitars and some good intentions. As the notes point out, whatever stresses the group may have been experiencing as a formal entity, the three guitarists had some productive and harmonious sessions and they still sounded as cool, creative, and cutting edge as they ever did. As bonus cuts, the makers have added "Helter Skelter" from a studio run-through, and thrown on "Spiritual Regeneration," the Beatles/Beach Boys ode to the Maharishi (which segues into the Beatles' birthday greeting to Mike Love) and a somewhat less-entertaining, informal, acoustic medley of traditional songs, all tracks recorded in India.
Source: AllMusic Review
               









Child of Nature later became Jealous Guy on John Lennon's solo album Imagine
Circles, written by George Harrison, was later released on Gone Troppo, his solo album released in 1982.

Sour Milk Sea was later given to Jackie Lomax which would be released in 1968.
Not Guilty was released in George Harrison's self-titled album in 1979, and an alternative take was released on Anthology.
Junk was released on Paul McCartney's first self-titled album, and the demo was also released on Anthology, a bit shorter than the original.
Spiritual Regeneration India was played for a birthday in India, according to someone talking in the song.
Rishikesh No. 9? I don't know.
01 - Cry Baby Cry
02 - Child Of Nature
03 - The Continuing Story of Bungalow Bill
04 - I'm So Tired
05 - Yer Blues
06 - Everybody's Got Something To Hide Except for Me and My Monkey
07 - What's The New Mary Jane
08 - Revolution
09 - While My Guitar Gently Weeps
10 - Circles
11 - Sour Milk Sea
12 - Not Guilty
13 - Piggies
14 - Julia
15 - Blackbird
16 - Rocky Raccoon
17 - Back In The U.S.S.R.
18 - Honey Pie
19 - Mother Nature's Son
20 - Ob-La-Di, Ob-La-Da
21 - Junk
22 - Dear Prudence
23 - Sexy Sadie
24 - Helter Skelter
25 - Spiritual Regeneration India
26 - Rishikesh No. 9







More info here: http://getbeatlebootlegs.blogspot.com/2012/06/download-here.html













Disk 1 : Tennesee / The House Of The Rising Sun / Back To Commonwealth / Get Off - White Power / Promenade / Yakkety Yak - Hi Ho Silver / For You Blue / Let It Be / Get Back / Don’t Let Me Down / Two Of Us / Baa Baa Black Sheep / Don’t Let Me Down / Suzy Parker / I’ve Got A Feeling / No Pakistanis / Let It Be / Be Bop A Lula / She Came in Through the Bathroom Window / High-heel Sneakers / Domino / I Me Mine / I’ve got a Feeling / One After 909 [ 73 : 29 ]

Disk 2 :  She Came In Through the Bathroom Window / Penina / Shakin’ In The Sixties / Move It - Good Rocking Tonight / Across The Universe / Two Of Us / Ramblin’ Woman - I Threw It All Away - Mama You’ve Been On My Mind / Early In The Morning - Hi Ho Silver / Stand By Me / Hare Krishna Mantra / Two Of Us / Don’t Let Me Down / I’ve Got A Feeling / One After 909 / Too Bad About Sorrows - Just Fun / She Said, She Said / Mean Mr. Mustard / All Things Must Pass / A Fool like Me / You Win Again - Inprovisation / She Came In Through the Bathroom Window / Mean Mr. Mustard / Watching Rainbows / Instrumental [ 69 : 20 ]

Originally released on a 3LP set in 1981 ‘The Black Album’ ( As it would become commonly known ) is the baby brother or little cousin to the behemoth of Yellow Dogs “Day By Day Series” & is, to some, even more palatable than Vigotone’s “Thirty Days” - a digestible couple of hours in the company of the Beatle’s “shittiest load of badly-recorded shit with a lousy feeling to it ever” - according to John Lennon - That, due to fact that we now have multiple hours of recordings available, is a little more attuned to the i-Pod generation.

The internet’s Remasters Workshop have recently taken on the task of taking this album & correcting the pitch, level & phase anomalies that existed on the original vinyl LP ( Before lengthier & more complete dubs of the Nagra reels appeared all we had were snippets that leaked out either through cassette dubs, acetates or video outtakes - The main of these featuring monotonous Yoko Ono jams & only piecemeal dribs & drabs of anything that had been rumored to be captured such as late Beatles versions of their back catalogue. This was the case with such dreaded bootlegs at “Happiness” which took high quality video dubs of low quality musicianship from the Twickenham sessions. )

This release is, as a whole, a “best of” or at least a best of what the bootleggers had in the early 1980’s & holds it’s own certainly against the horrible & far too short “Fly On The Wall” disk from Apple’s “Let It Be .. Naked” release.

Distilled from a 3 LP set ( that originally came with an alternate mock up of ‘the White Album’s’ poster as a bonus ) it’s prominence against other releases of it’s ilk is small at best - but this is essentially set against various rehashes of the material from elsewhere otherwise this is nostalgia based bootlegging from those that recall visiting headshops, record collecting fairs or adverts in the music press.

The music, for those that remember it, is just the same beginning with covers of “Tennessee” & “The House Of The Rising Sun” either tracks recorded by the Beatles heroes or by their contemporaries - “House Of The Rising Sun” comes off worst as both John & Paul howl a wild, horribly out of tune rendition that does neither the original version of the band much favours.

“Back To Commonwealth” & “Get Off / White Power” are hastily cobbled together improvisations of a satirical bent referencing M.P. Enoch Powell’s ‘Rivers Of Blood’ speech made in April 1968 & who’s reverberations could still be felt nearly a year later. Since their initial release these tracks have seen the Beatles pilloried as being slightly off message but it has also been noted that the Fabs were always quietly political & their wicked, ‘Private Eye’ humour could have been seeping out while they messed around trying to make these sessions a little more palatable for them to play at.

At this stage then none of the Beatles considered these sessions anything more than free studio time with no intentions of really having any of these throwaway versions used for any project & with these it shows. “Get Off / White Power” is a forerunner of the jam “Dig It” of which a partial version was used on the sound track album. Beginning the call & response action of calling out the random name of a celebrity or someone from the Beatles past & calling back with ‘Get Off’ or ‘Can you dig it?’

“For You Blue” is the first track that would have a hope of inclusion in the film - Harrison never as prolific as his band mates & so never at a wont for improvising lyrics offered only a couple of his compositions for these sessions - possibly wondering if a sea change was underfoot or from having his choices rebuffed by the Lennon / McCartney songwriting team - His contribution is rendered in a ragged jam style following the style of the “Get Off” Jam.

It’s clear to hear this is far for being the finished version & George is far from confident of the lyrics only half throwing them out in to the fore. This version lasts less than two minutes before trailing off half heartedly.

“Let It Be” features more of the same - Half remembered lyrics ( Morphing in to “Read the Record Mirror, Let It Be .. “, John essentially taking the piss with his faux baritone harmonies while his plodding bass lines fall more towards “Octopuses’ Garden” than majestic & musical.

“Get Back” is a rampant rocker, less polished than the finished article but strong enough to stand up to a brutal & raw solo thrown in by George. The lyrics hint at the racial disharmony track that McCartney’s desperately trying to throw out there ( Competing with John & Yoko’s ‘Revolution 9′ from the ‘White Album’ perhaps? ) but evidently wiser heads took hold & he wised up enough just to have a barbed point at on of Linda’s old boyfriends instead. )

The two versions of “Don’t Let Me Down” are, essentially, warm ups & try outs. A linguine organ part pins the whole track together with Ringo’s rock steady beat. Despite It being John’s song then Paul is taking up much of the reins pointing John in the direction of the way of the track & feeding him lyrics & movement’s when appropriate.

Come the second version John has stated to put a little more backbone in & his voice & really tears into the chorus imploring Yoko to still need him & feed him now that he’s taken the decision to move on from his first wife. This statement of intent doesn’t last long though, John’s fleeting imagination takes flight & he leads the band straight in to a R’n'R pastiche by the name of “Suzy Parker” - another composition that had an airing in the “Let It Be” film but never quite came to fruition.

The first pass at “I’ve Got A Feeling” is a really tough version. A collision of two dog-ends by the Lennon & McCartney songwriting team which provided dividends when spliced together. McCartney has his best yelp on board that really impresses John towards the end who tried to dig out a bit more of the Little Richard magic of Paul’s screams.

The second begins with a few stray bass notes & a little studio chatter. It’s no less sloppy ( In fact it’s very similar to the version where they chart the climactic coda in the film ) but does drag itself together very well to present a little more meat on it’s bones.

“No Pakistanis” is another attempt at ‘Get Back’ but under a different name. It’s cleared of any real story ( It’s lyrics are half remembered mumbles ) & only retains it’s chorus which is obviously it’s main point. It falls in to a messy jam at the end although this is none the less exciting to hear due to Macca’s drive to force his voice to reach the requisite strength.

“She Came In Through The Bathroom Window” is from a different source - closer to an off video tape dub that one of the nagra sources - but is very funny to listen to - Essentially 6 minutes of rehearsals, Paul counts-in in German then John immediately begins to bawl the lyrics in his best cockney impression while Paul does the same.

This changes by the change of the reel to Paul putting on a suave singing style & John continuing the comedy firstly by squeaking a Mickey Mouse tone & then back to bellowing again before the madness calms down & they continue with the track properly but this orderly style can’t last long so the track quickly ends to give way to a barrage of nonsense & chatter before starting up again but no more serious than before before the source ends.

“High Heel Sneakers” is from the same source but lasts just over a minute. It’s a vibrant romp but means nothing in particular it’s just another break between doing any real work.

“I Me Mine” is a spanish flavoured version without lyrics. A run through at most with Paul taking the lead of ‘he who could care less’ this time while George tries to drill though the innards & nuances. Although it’s not one for the scrap book it’s one of the few times that the track would be offered around during these rehearsals.

Disk two begins with an brief run through of the riff of the ‘Rubber Soul’ track “Norwegian Wood” by the band this quickly flows into another rehearsal of “She Came In Through The Bathroom Window” although one thats a little more together than the previous airing. The squeaky - keen guitar line & various ( only just audible ) piano improvs highlight the true differences from the ‘Abbey Rd.’ version although, again, it doesn’t really take off.

“Move It / Good Rockin’ Tonight” are great, pulsating, bass heavy versions for these two oldies. The Beatles are having a lot of fun rendering these into the ground.

Another version of “Two Of Us” has the band picking up the pace to galloping. It’s a rendition used in the film once again so will be familiar to everyone. Rather than the slow buddying version used on the LP it would have been nice to hear some more of this version.

George Harrison contributes a few Dylan compositions & an unreleased one of his own in the form of “Ramblin’ Woman, I Threw It All Away & Mama, You Been On My Mind.” The latter two had possibly been picked up in Woodstock when George took a vacation to visit his buddy ( “Mama .. ” obviously gracing Dylan’s catalogue for quite a few years too ) but rendered in George’s own, imitable & intimate style they show his versatile picking style to it’s best intentions.

“Hare Krishna Mantra” is a VERY loose version of the religious single that was released on the Apple label. It barely merits a mention as it’s a throw away doodle by McCartney but still, it has it’s place on the album.

The next version of “I’ve Got A Feeling” is every bit as brusque as the previous airings but has now started to come together a lot. This also appears in the film - It’s the version where Paul shouts a very loud ‘Good Morning’ after the first chorus. George’s contribution would be quietened down after further work went in to the track but it now appears that they’re coming to the end of rehearsals for this particular track. The anomaly with the track is that due to the tape ending as the take does then it slumps to a halt - This is obviously another reason why the tape wasn’t used any more but is interesting to hear in context.

“One After 909″ is another rehearsal in progress but he attention bestowed on it obviously meant that the Fabs were betting on it’s inclusion in to the set list from the start obviously keen to air it after all these years.

“She Said, She Said” lasts all of 30 seconds so again it’s inclusion is prevalent to the original LP but of no real excitement. “Mean Mr. Mustard” on the other hand stretches itself out for nearly 4 mins - uch longer than it’s brief inclusion on ‘Abbey Rd.” but it is, again, just another song that was written on the back of matchbox so could only be included as part of a medley unless John could get it together to write more.

George’s best loved song “All Things Must Pass” makes a quiet appearance but once again his best plans are thwarted by extraneous noises above his musicianship - It’s only Ringo otherwise that’s keeping behind the lines with a steady & reserved beat. Paul’s extra piano cascades are annoying & while it’s understood that this is a rehearsal someone should have taken the time to tell him to cut it out. Obviously the band’s hearts aren’t in it either so they quickly turn to a John crooned cover of “A Fool Like Me” thats actually pretty appealing if brief.

“Mean Mr. Mustard” makes another appearance on keyboard although it’s no more of a workout than the inaugural version while the Fab’s work out some riffs to stick to it but once John runs out of lyrics the rest peals out to aimless jamming until John throws out another cartoonish skit “Madman” that folds itself into “Watching Rainbows” - the little brother of “I’ve Got A Feeling & “I Am The Walrus”.

It would seem that John favours writing indeterminable bits & pieces of lyrics nowadays & “Madman’s” lyrics are just that - silly doggerel while “Watching Rainbows” fairs a little better & has a bit more structure around it then neither idea would go anywhere but both would drop in to aimless jams much like “Instrumental” which rounds off the CD - an amalgamation between a recording from French radio & another source.

The Remasters Workshop certainly have the right idea but baring the snippets that aren’t readily available on Yellow Dog’s ‘Day By Day’ or Vigotones set or even Batz’s CD of the “Lost Get Back Reels” then this CD could have been compiled from better sources ( and a lot of home bootleggers have taken on the task ) to have formed a rather more reasonable listening experience than a lot of us heard the first time around either on the original vinyl or when tapes were traded.

That Extraction Factory chose to release it is just as baffling as the market for nostalgia in bootlegs really only generally exists if collecting the original vinyl or a high quality bootleg that had evaded your clutches before though that’s not to say that there won’t be certain collectors who have to have everything & for them this CD will be perfect.





Source: http://www.collectorsmusicreviews.com/beatles/the-beatles-the-black-album-extract-factory-ext-005/

More information here: http://archivess-t.fullalbums.org/blogs/2011/03/18/the-beatles-the-black-album/





In November 1968, George Harrison released 'Wonderwall Music'. A soundtrack to an art film called 'Wonderwall' this predominantly Indian music collection was the first solo album to be released by a Beatle and also the first album on the newly formed Apple Records. George would continue to release albums on Apple (and EMI) through to 1975's soul-influenced 'Extra Texture (Read All About It)' touching on experimentalism with 'Electronic Sound', the magnificent triple album 'All Things Must Pass', the chart-topping 'Living In The Material World' and the, perhaps, less well-known 'Dark Horse'. This box brings all these eclectic albums together in one set that mirrors 2004's 'Dark Horse Years' box set and will contain a perfect bound book with a DVD. All albums have been remastered by Dhani Harrison and Paul Hicks and all will be packaged in high-quality card packs and all albums, apart from 'All Things Must Pass' and 'Living In The Material World' contain newly written notes by Kevin Howlett. The DVD contains a brand new, never before seen video which has been painstakingly overseen by Olivia Harrison and all packages contain new photos many never seen before.





George Harrison's first six solo albums are being reissued as a box set called George Harrison: The Apple Years 1968-75. Those albums, from his days on The Beatles' label Apple Records, were I think his strongest, most interesting records: Wonderwall Music, Electronic Sound, All Things Must Pass, Living in the Material World, Dark Horse and Extra Texture (Read All About It). Though I liked something about all the post-Beatles George Harrison records (there were 12), I found those first half-dozen records to be a window into a famous guitar player and songwriter we hardly knew.
Those first two albums, which he did while still a Beatle, were like very few albums out there in the world of pop in the late 1960s. Wonderwall, released in 1968, was a soundtrack album, the first album on Apple Records, and was a response to Harrison's time in Bombay. Electronic Sound was his explorations on a Moog synthesizer. All Things Must Pass is his masterpiece and highlighted Harrison as a prolific emotional songwriter.
His final three records on Apple were all strong. Today we have a bonus track from the reissue of Extra Texture (Read All About It), an alternate version of one of my favorite songs from that album, "This Guitar (Can't Keep from Crying)." The recording was done in 1992 as a demo for Eurythmics' Dave Stewart, who recorded electric guitar on it at the time. The song itself is a sequel of sorts to Harrison's masterful tune "While My Guitar Gently Weeps," a song recorded with The Beatles that featured a brilliant guitar solo from his buddy Eric Clapton. "This Guitar" is a reaction to poor and sometimes scathing reviews, including ones from Rolling Stone that Harrison received when he toured in 1974 ignoring his Beatles legacy in favor of Indian Classical music and his new music.
Learned to get up when I fall
Can even climb rolling stone walls
But this guitar can't keep from crying
This here guitar can feel quite sad
Can be high strung, sometimes get mad
Can't understand or deal with hate
Responds much better to love
For the reissue, this version of the song got overdubs from George's son Dhani Harrison on guitar, Ringo Starr on drums and Kara DioGuardi on vocals. Dhani Harrison also oversaw the reissues. All of the records have been remastered from the original analog tapes and feature bonus tracks, booklets and a DVD. The box set comes out on Sept. 23, but you can pre-order here.

Source: http://www.npr.org/blogs/allsongs/2014/09/10/347156982/george-harrison-this-guitar-cant-keep-from-crying


.



San Francisco said goodbye on Thursday to Candlestick Park -- the stadium where the city's beloved Giants and 49ers celebrated some of their greatest triumphs.

The storied venue shut down after an evening concert by former Beatle Paul McCartney that finished around midnight. It will then be demolished to make way for a housing, retail and entertainment development.
The Stick, as it is known, opened more than 50 years ago and served as the home field for the 49ers and Giants. It hosted greats from both teams, including Joe Montana, Jerry Rice and Willie Mays, and was the site of The Catch -- Montana's touchdown pass to Dwight Clark to win the NFC championship game in January 1982 that sent the 49ers to their first Super Bowl.


The Giants played their last game at Candlestick in September 1999. The 49ers will play at a new stadium about 45 miles south starting this year.
Candlestick was also the site of a 1987 mass by Pope John Paul II and the Beatles' last live concert in 1966.

"Anyone you talk to about Candlestick Park is going to have mixed emotions about it: It's not a pleasant place physically. It gets windy and cold, but it's where the Giants and 49ers played for so many years," said Greg Breit, 50, before the concert's start. "There's so much history here. You can't deny it."
Fans savored the final event at The Stick by holding tailgate parties and taking snapshots of the stadium before the late-afternoon fog rolled in.


San Francisco police warned people attending Thursday's concert not to take any chairs or other mementos from the stadium, saying anyone caught with such items could face vandalism charges.


"We don't want people to be trying to take any pieces of Candlestick Park," officer Gordon Shyy told KGO-TV. "Just come enjoy the concert tonight and have a safe night."

Source: http://www.billboard.com/articles/news/6221743/paul-mccartney-closes-san-franciscos-candlestick-park

You can hear this concert in full here:
http://tela.sugarmegs.org/MostListened.aspx


July 16, 2014 9:00 AM ET Ron Howard,Courtesy Imagine Entertainment When Ron Howard was 9 years old, he was already a national television star on The Andy Griffith Show – and there was only one thing he wanted for his next birthday. "The gift that I was begging for was a Beatle wig," he tells Rolling Stone with a laugh. "And on March 1st, 1964, that's what I got: the Beatle wig of my dreams."

Now the Academy Award-winning director is coming full circle with his Fab Four obsession, having signed on to direct and produce an authorized, as-yet-untitled documentary about the touring years of the band’s career (approx. 1960-1966), a period in which the Beatles crossed the globe, sparked Beatlemania and released several classic albums (including A Hard Day’s Night and Rubber Soul). For it, he will interview surviving members Paul McCartney and Ringo Starr, as well as talk with Yoko Ono and Olivia Harrison (wife of the late George Harrison).

"What's so compelling to me is the perspective that we have now, the chance to really understand the impact that they had on the world," Howard says. "That six-year period is such a dramatic transformation in terms of global culture and these remarkable four individuals, who were both geniuses and also entirely relatable. That duality is something that is going to be very interesting to explore."

Howard is joined by Nigel Sinclair, the Grammy-winning producer behind the documentaries George Harrison: Living in the Material World and No Direction Home: Bob Dylan, as well as the producers Brian Grazer (Apollo 13, Get on Up) and Scott Pascucci (George Harrison). They will have access to the vast archives of Apple Corps, the Beatles’ company, as well as incorporate fan-sourced amateur video footage to recreate previously unseen concerts. It's Howard’s second music documentary, following last year’s Jay-Z festival film Made in America.

"We are going to be able to take the Super 8 footage that we found, that was all shot silent. We'll not only be able to digitally repair a lot of that, but we've also been finding the original recordings," explains Howard. "We can now sync it up and create a concert experience so immersive and so engaging, I believe you're going to actually feel like you're somewhere in the Sixties, seeing what it was like to be there, feeling it and hearing it. And as a film director, that's a fantastic challenge."

Sinclair says the team has already unearthed some surprising footage from the Beatles’ final concert at San Francisco's Candlestick Park in 1966. "Their last concert in ’66, when they were probably the most famous people on the planet, [they] ended up carrying their own amps onstage. I think that’s almost emblematic of the charm of this story," he says. Also a longtime Beatles fan, he saw the band in Glasgow in 1964. "It was a memory to treasure."

The film will also explore the "multigenerational quality" of Beatles fandom, according to Howard. "I hope we find some of that in the footage," he says. "We may have a shot of a boy or a girl very early in their life at a concert, and then we may be able to find them today and talk to them, and talk to their grandchildren and see what their relationship is with the Beatles, and understand how multiple generations find tremendous value and relevance in their music."

The documentary is scheduled for a tentative late-2015 release, and Howard says he is eager to begin interviewing McCartney and Starr. Turns out, he has a history with his heroes; half of the band met him on the set of his hit 1970s sitcom Happy Days. "We got word that John Lennon wanted to come by and bring his son [Julian], and he was a big Fonzie fan. I managed to sneak in a picture," he recalls. "He was graciously cool, but mostly it was for his kid, which we all really appreciated."

Howard adds, chuckling, "A year or so later, Ringo and Keith Moon wandered by. I don't know what they were doing in the lot, and I'm not even sure they knew where they were, but they seemed happy to be there."

Source: Read more: http://www.rollingstone.com/music/news/ron-howard-directing-new-beatles-doc-focusing-on-bands-early-years-20140716#ixzz37w28bbfe
Follow us: @rollingstone on Twitter | RollingStone on Facebook


There should be a law that “A Hard Day's Night,” which was just re-released by the Criterion Collection on DVD, should never be allowed to go out of print. It is a movie that was a landmark film when it was released in 1964 and still is today.
Movie critics, including the late Roger Ebert, praised it to the skies. “It was clear from the outset that 'A Hard Day's Night' was in a different category from the rock musicals that had starred Elvis and his imitators,” he wrote in “Roger Ebert: The Great Movies.” “It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white semi-documentary style that seemed to follow the boys during a day in their lives.”

The new Criterion DVD does what the company is famous for – present movies in an intelligent setting for film fans. It starts, of course, with the movie, which looks absolutely fantastic, sharper and cleaner and than ever thanks to a transfer from the original negative.

The audio got a big improvement with this new DVD over the previous Miramax version, which only featured a mono soundtrack. The new DVD features both a Dolby stereo and 5.1 surround audio supervised by Giles Martin. His mix makes the music sound dimensional.

The new DVD reorganized the special features from the Miramax set and includes most, though not all. Some of the DVD-ROM interviews on the Miramax set have been incorporated as commentary. Also included is “The Making of 'A Hard Day's Night,'” which included comments by Ebert and Roger McGuinn, plus Phil Collins showing where exactly he was in the movie.

Two of the new features are especially great. “The Road to 'A Hard Day's Night'” is an interview with author Mark Lewisohn about the history of the movie. The new DVD also includes an over-the-film commentary taken from a discussion from the special features of the Miramax DVD. Not that it's bad, but since it was not made specfically for a commentary track, it sounds disjointed since few of the comments match what's happening onscreen. There's also a new feature called “Picturewise” that looks at Lester's movie style.

There are two versions of the release: a single disc regular DVD and the dual-format version that includes Blu-ray and two regular DVDs which include everything on the Blu-ray. Spend the extra and get the dual-format, which also comes with a great little book with an interview with Richard Lester and rare movie pictures, some in color. You won't regret it.

But don't get rid of that Miramax DVD just yet. While it was criticized in some circles and unfairly for the overabundance of special features, a strange complaint, some of those features are missing in the new DVD, among them access to the shooting script. And the video for “I'll Cry Instead” from the original MPI DVD (and the earlier Voyager CD-ROM) isn't here, either.

Criterion has a respected reputation for its film releases. “A Hard Day's Night,” which will be released in England July 21, is no exception and well worth getting.
(Note: Pattie Boyd will appear at a special 50th anniversary screening this Sunday at Catalina Island in Southern California. You can find information here. Also, "A Hard Day's Night" will open a special theatrical engagement July 4. The theaters are listed on the Janus Films website.)

Source:




The 1964 screen debut of The Beatles became a cultural phenomenon. Take a look at scenes from the movie. Bruce and Martha Karsh/Janus Films. Rock movies were never the same after "A Hard Day's Night."


The 1964 screen debut of The Beatles was meant to cash in on the wave of Beatlemania sweeping the band's native England and produce a soundtrack album that American movie studio United Artists could market through its music division. It did that and more: Like its stars, the movie became a cultural phenomenon.
"It elevated the art of the pop-music film," said Beatles biographer Mark Lewisohn, author of "Tune In: The Beatles: All These Years." After a string of peppy jukebox musicals in the late 1950s such as "Rock Around the Clock," the Beatles film set a new standard. "It was the first of its kind to treat the subject with some intelligence and a more sophisticated level of humor."


Janus Films will release a digitally restored version of the film in about 100 cities on July 4, commemorating the 50th anniversary of its premiere at the Pavilion Theatre in London's Piccadilly Circus. The Criterion Collection released a DVD/Blu-Ray edition Tuesday.
"This is the film where we literally get to meet the Beatles," said Peter Becker, president of The Criterion Collection and a partner in Janus Films. The distributor, which released Academy Award-winning "The Great Beauty" digitally to theaters, said a digital projection of the Beatles movie allowed for a much wider simultaneous release than a film version. "It just plays like gangbusters," he said.
The loose-limbed comedy, directed by Richard Lester, follows the Fab Four—Paul McCartney, John Lennon, George Harrison and Ringo Starr—as they travel from Liverpool to London for a TV performance. Antics ensue, many instigated by a mysterious older man (Wilfrid Brambell) that Mr. McCartney claims is his grandfather. Mr. Starr goes on a walkabout. And when they're not singing, or on the run from screaming fans, the performers riff as only slightly exaggerated versions of themselves—making the most of clever one-liners concocted by screenwriter Alun Owen. 


The movie made an impact on generations of Beatles fans. Some of them grew up to direct their own pop-oriented films.

"To me it's probably the greatest rock film ever made," said Morgan Neville, a longtime director of music documentaries whose "20 Feet from Stardom" won the Academy Award this year. "There were a thousand ways that movie could have gone off the rails, but every other pop band since has tried to make it."
Mr. Neville credits much of the movie's success to Mr. Lester. The American filmmaker, then known for his work with British comedians Peter Sellers and Spike Milligan ("The Goon Show"), infused the film with a spirit of "sheer humor and anarchy," Mr. Neville said. It anticipated the work of ensembles like Monty Python's Flying Circus. "He was really at the forefront of the British new wave." Mr. Lester's inventiveness was such that when Lennon was unable to appear in part of the "Can't Buy Me Love" sequence, which was shot outdoors, the director stood in for him: He put on the absent Beatle's shoes and pretended to be Lennon holding the camera.


The film version of "A Hard Day's Night," whose title was taken from one of Mr. Starr's off-the-cuff comments and became the last song written for the film, has many other distinctions. One of the most conspicuous is the group's thick Liverpool accents. "The biggest pop star in Great Britain before the Beatles, Cliff Richard, had adopted a mid-Atlantic accent in the hope that he would be more acceptable to Americans for not sounding completely English," Mr. Lewisohn said. "The Beatles said, 'Here we are and this is us and you can take it or leave it.' Everyone took it."
The seminal Beatles film "A Hard Day's Night" is hitting more than 100 theaters July 4 in a digitally restored version. WSJ contributor Steve Dollar joins Tanya Rivero with a look at the revival of the 1964 classic and its influence. Photo: Janus Films 


The film also reveled in running jokes and sight gags that might slip by a casual viewer. The elderly gent played by Brambell is continually referred to as "clean." As an actor, he was better known as the grubby lead in the BBC comedy "Steptoe and Son," the basis for the American series "Sanford and Son." And in a moment typical of the film's attitude, there's a glimpse of John Lennon with a bottle of Coca-Cola raised to his nose. "Sniffing coke," Mr. Lewisohn said. "It's just there and it's gone."
Some of those subtleties may be more apparent in the restored film, which includes a soundtrack remixed for stereo and surround formats by Giles Martin, son of Beatles' producer George Martin. To ensure the highest fidelity, Mr. Martin went back to original source materials, including stock sound effects that were archived by the BBC. 


In other instances, the producer enlisted a little help to stir some extra Beatlemania. During the performance at the end of the movie, he instructed co-workers to shout out the names of individual Beatles, which weren't very audible in the film amidst all the shrieking. 


"There's a little girl who does the Internet here," Mr. Martin said. "She's the quietest character. She went ballistic. 'PAULLLLLL!!!'"
Despite such enduring enthusiasm, Mr. Martin was mindful of not overdoing it. "You want to have a feeling like you're there," he said. "But I'm not remixing a Michael Bay film."

Source: http://online.wsj.com/articles/a-digitally-restored-hard-days-night-1403814666



 

 

REVIEW: "A HARD DAY'S NIGHT"- RESTORED 50TH ANNIVERSARY THEATRICAL RELEASE 

 


By Mark Cerulli
After a meticulous 4K restoration by none other than the Criterion Collection, the Beatles’ first film, A Hard Days Night, was unveiled at LA’s Raleigh Studios. Yes, the image was crisp and clean, not a smudge or scratch in sight. (No surprise there as the film’s director Richard Lester personally approved the restoration.) And yes, the music sounded glorious in a new 5.1 mix. In fact, George Harrison’s iconic opening riff on the title track just about knocked this Cinema Retro scribe off his seat! But what was really special about this whimsical film was watching it through the prism of fifty years. From frame 1, we know how we lost both John Lennon and George Harrison. We are living with climate change, al-Qaeda, overpopulation and deforestation, so this movie is a welcome relief, capturing a simpler time in a quainter London which was then still throwing off the shadows of WW II. Most importantly, the film delivers The Beatles in close-up after close-up – all are young, strong and so full of life. To say they “stole the show” doesn’t apply, they ARE the show. The plot, about the trials and tribulations of getting the white-hot group to a live performance is basically filler between musical set pieces, but it earned writer Alun Owen a 1965 Oscar nomination. George Martin’s thumping score also landed an Oscar nod.






Along for the ride is Paul’s cranky grandfather (Wilfrid Brambell) who keeps the band and their managers (dour Norman Rossington and goofy John Junkin) on their toes. Odd looking and angular, Brambell, a major UK TV star at the time, was a sneering contrast to the Fab Four’s glowing charisma.




The film is as much about movement as it is music. The band is always on the move, - on foot, in trains, cars and a helicopter. Richard Lester’s cameras are on the move as well, with numerous hand-held shots and a beautiful aerial sequence where the band escapes a stuffy rehearsal to mess about in a playing field accompanied by Can’t Buy Me Love. With much of the dialogue improvised on the spot, A Hard Day’s Night has a breezy, cinéma vérité feel that obviously worked for its stars as they seem to be having a blast from start to finish.


When The Beatles finally go “live”, the climactic concert delivers vintage “Beatlemania” in all its screaming glory. The lads blast out Tell Me Why, If I Fell, I Should Have Known Better and She Loves You, intercut with an audience full of hysterical teens and the show’s harried director (Vincent Spinelli) having a meltdown in the control booth. It’s all innocent, upbeat and just simply, fun. Are there plot holes you could drive a double-decker bus through? Sure. But who cares? For a brief shining moment the Beatles are together again and all is well with the world.


On July 4th, Janus Films will re-release this restored version of A Hard Days Night in more than 50 cities across America.








With an audiophile audience in mind, The Beatles’ mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios. While the corresponding CD boxed set from 2009 was created from digital remasters, these new vinyl versions have been cut without the use of any digital technology.  Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging


London – June 16, 2014 – The Beatles in mono

This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. On September 8 (September 9 in North America), The Beatles’ nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks will be released in mono on 180-gram vinyl LPs with faithfully replicated artwork. Newly mastered from the analogue master tapes, each album will be available both individually and within a lavish, limited 14-LP boxed edition, The Beatles In Mono, which also includes a 108-page hardbound book.

The Beatles, 1968. © Apple Corps. Ltd.

In an audiophile-minded undertaking, The Beatles’ acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.

Working in the same room at Abbey Road where most of The Beatles’ albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.

Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging. The boxed collection’s exclusive 12-inch by 12-inch hardbound book features new essays and a detailed history of the mastering process by award-winning radio producer and author Kevin Howlett. The book is illustrated with many rare studio photos of The Beatles, fascinating archive documents, and articles and advertisements sourced from 1960s publications.

Available now for preorder at www.thebeatles.com.

The Beatles In Mono
* Available individually and collected in a limited 14-LP boxed edition, accompanied by an exclusive 108-page hardbound book.
  • Please Please Me
  • With The Beatles
  • A Hard Day's Night
  • Beatles For Sale
  • Help!
  • Rubber Soul
  • Revolver
  • Sgt. Pepper's Lonely Hearts Club Band
  • Magical Mystery Tour
  • The Beatles (2-LP)
  • Mono Masters (3-LP)

"The Beatles", affectionally known as "the White album". © Apple Corps Ltd.



Official promotional film for the mono vinyl releases.


The prices from Amazon in USA for the boxed set is $409.26, single-LPs are $26.60, the 2LP "The Beatles" $43.97 and the 3LP "Mono Masters" $77.52.

Official press release.

Source: http://wogew.blogspot.com/2014/06/the-beatles-mono-vinyls-press-release.html


Just when you thought that everything that could be said that was new, fresh, or unusual about the Beatles' later history was already out there, along comes The Beatles: Unplugged, a bootleg CD so good that the folks at Apple and EMI ought to be kicking themselves for not thinking of it first. This disc (which is sort-of subtitled "The Kinfaun-Session," referring to George Harrison's Esher home) pulls together the 23 songs that Harrison, John Lennon, and Paul McCartney recorded as works-in-progress at Harrison's home in May of 1968. Most of what's here was eventually heard either on The Beatles [White Album], or various solo works ("Child of Nature" surfacing with new lyrics as "A Jealous Guy," etc.) or B-sides ("What's the New Mary Jane"), and on various bootlegs. What makes this presentation better than most is that it's part of that "digipak" bootleg series that's been coming out of Europe since late 2000 and generally knocking listeners out with its quality. The production here is a match for any legitimate release, not just in sound quality but also the care that went into the selection, order, and editing of the tapes; there's some hiss here and there, to be sure, and a few tracks are close to overload on the sound, but there's nothing here that will make you jump to lower the volume or skip to the next cut -- in fact, chances are most of the songs here will get repeated more than once. It's a lot like listening to an "unplugged" version of The Beatles (even re-creating The Beatles [White Album]'s packaging), since most of it is represented here, and in excellent form. Indeed, the version of "Revolution" on this disc -- just to cite one example -- is as good as the released one, only brighter, and, if you will, bouncier, as the trio has unbridled fun with the lyric, the beat, and the rhymes without the need to pump up the wattage or the seriousness of it all; if the finished song is John Lennon's message to the world about politics, hate, and manipulation of the Beatles, this is his handwritten draft of that message, with all of his momentary digressions and mental edits left in. McCartney and Harrison's songs are just as well represented, and the only thing missing is a contribution by Ringo Starr, who didn't participate in these recordings. The curious element is that it's the hard-rocking songs -- "Yer Blues" and "Back in the USSR" -- that come off the best, even though they're the most different from the finished versions; the demo of "Ob-La-Di, Ob-La-Da" is just as entertaining, as the trio plunges headfirst into reggae armed with just their guitars and some good intentions. As the notes point out, whatever stresses the group may have been experiencing as a formal entity, the three guitarists had some productive and harmonious sessions and they still sounded as cool, creative, and cutting edge as they ever did. As bonus cuts, the makers have added "Helter Skelter" from a studio run-through, and thrown on "Spiritual Regeneration," the Beatles/Beach Boys ode to the Maharishi (which segues into the Beatles' birthday greeting to Mike Love) and a somewhat less-entertaining, informal, acoustic medley of traditional songs, all tracks recorded in India.
Source: AllMusic Review
               









Child of Nature later became Jealous Guy on John Lennon's solo album Imagine
Circles, written by George Harrison, was later released on Gone Troppo, his solo album released in 1982.

Sour Milk Sea was later given to Jackie Lomax which would be released in 1968.
Not Guilty was released in George Harrison's self-titled album in 1979, and an alternative take was released on Anthology.
Junk was released on Paul McCartney's first self-titled album, and the demo was also released on Anthology, a bit shorter than the original.
Spiritual Regeneration India was played for a birthday in India, according to someone talking in the song.
Rishikesh No. 9? I don't know.
01 - Cry Baby Cry
02 - Child Of Nature
03 - The Continuing Story of Bungalow Bill
04 - I'm So Tired
05 - Yer Blues
06 - Everybody's Got Something To Hide Except for Me and My Monkey
07 - What's The New Mary Jane
08 - Revolution
09 - While My Guitar Gently Weeps
10 - Circles
11 - Sour Milk Sea
12 - Not Guilty
13 - Piggies
14 - Julia
15 - Blackbird
16 - Rocky Raccoon
17 - Back In The U.S.S.R.
18 - Honey Pie
19 - Mother Nature's Son
20 - Ob-La-Di, Ob-La-Da
21 - Junk
22 - Dear Prudence
23 - Sexy Sadie
24 - Helter Skelter
25 - Spiritual Regeneration India
26 - Rishikesh No. 9







More info here: http://getbeatlebootlegs.blogspot.com/2012/06/download-here.html













Disk 1 : Tennesee / The House Of The Rising Sun / Back To Commonwealth / Get Off - White Power / Promenade / Yakkety Yak - Hi Ho Silver / For You Blue / Let It Be / Get Back / Don’t Let Me Down / Two Of Us / Baa Baa Black Sheep / Don’t Let Me Down / Suzy Parker / I’ve Got A Feeling / No Pakistanis / Let It Be / Be Bop A Lula / She Came in Through the Bathroom Window / High-heel Sneakers / Domino / I Me Mine / I’ve got a Feeling / One After 909 [ 73 : 29 ]

Disk 2 :  She Came In Through the Bathroom Window / Penina / Shakin’ In The Sixties / Move It - Good Rocking Tonight / Across The Universe / Two Of Us / Ramblin’ Woman - I Threw It All Away - Mama You’ve Been On My Mind / Early In The Morning - Hi Ho Silver / Stand By Me / Hare Krishna Mantra / Two Of Us / Don’t Let Me Down / I’ve Got A Feeling / One After 909 / Too Bad About Sorrows - Just Fun / She Said, She Said / Mean Mr. Mustard / All Things Must Pass / A Fool like Me / You Win Again - Inprovisation / She Came In Through the Bathroom Window / Mean Mr. Mustard / Watching Rainbows / Instrumental [ 69 : 20 ]

Originally released on a 3LP set in 1981 ‘The Black Album’ ( As it would become commonly known ) is the baby brother or little cousin to the behemoth of Yellow Dogs “Day By Day Series” & is, to some, even more palatable than Vigotone’s “Thirty Days” - a digestible couple of hours in the company of the Beatle’s “shittiest load of badly-recorded shit with a lousy feeling to it ever” - according to John Lennon - That, due to fact that we now have multiple hours of recordings available, is a little more attuned to the i-Pod generation.

The internet’s Remasters Workshop have recently taken on the task of taking this album & correcting the pitch, level & phase anomalies that existed on the original vinyl LP ( Before lengthier & more complete dubs of the Nagra reels appeared all we had were snippets that leaked out either through cassette dubs, acetates or video outtakes - The main of these featuring monotonous Yoko Ono jams & only piecemeal dribs & drabs of anything that had been rumored to be captured such as late Beatles versions of their back catalogue. This was the case with such dreaded bootlegs at “Happiness” which took high quality video dubs of low quality musicianship from the Twickenham sessions. )

This release is, as a whole, a “best of” or at least a best of what the bootleggers had in the early 1980’s & holds it’s own certainly against the horrible & far too short “Fly On The Wall” disk from Apple’s “Let It Be .. Naked” release.

Distilled from a 3 LP set ( that originally came with an alternate mock up of ‘the White Album’s’ poster as a bonus ) it’s prominence against other releases of it’s ilk is small at best - but this is essentially set against various rehashes of the material from elsewhere otherwise this is nostalgia based bootlegging from those that recall visiting headshops, record collecting fairs or adverts in the music press.

The music, for those that remember it, is just the same beginning with covers of “Tennessee” & “The House Of The Rising Sun” either tracks recorded by the Beatles heroes or by their contemporaries - “House Of The Rising Sun” comes off worst as both John & Paul howl a wild, horribly out of tune rendition that does neither the original version of the band much favours.

“Back To Commonwealth” & “Get Off / White Power” are hastily cobbled together improvisations of a satirical bent referencing M.P. Enoch Powell’s ‘Rivers Of Blood’ speech made in April 1968 & who’s reverberations could still be felt nearly a year later. Since their initial release these tracks have seen the Beatles pilloried as being slightly off message but it has also been noted that the Fabs were always quietly political & their wicked, ‘Private Eye’ humour could have been seeping out while they messed around trying to make these sessions a little more palatable for them to play at.

At this stage then none of the Beatles considered these sessions anything more than free studio time with no intentions of really having any of these throwaway versions used for any project & with these it shows. “Get Off / White Power” is a forerunner of the jam “Dig It” of which a partial version was used on the sound track album. Beginning the call & response action of calling out the random name of a celebrity or someone from the Beatles past & calling back with ‘Get Off’ or ‘Can you dig it?’

“For You Blue” is the first track that would have a hope of inclusion in the film - Harrison never as prolific as his band mates & so never at a wont for improvising lyrics offered only a couple of his compositions for these sessions - possibly wondering if a sea change was underfoot or from having his choices rebuffed by the Lennon / McCartney songwriting team - His contribution is rendered in a ragged jam style following the style of the “Get Off” Jam.

It’s clear to hear this is far for being the finished version & George is far from confident of the lyrics only half throwing them out in to the fore. This version lasts less than two minutes before trailing off half heartedly.

“Let It Be” features more of the same - Half remembered lyrics ( Morphing in to “Read the Record Mirror, Let It Be .. “, John essentially taking the piss with his faux baritone harmonies while his plodding bass lines fall more towards “Octopuses’ Garden” than majestic & musical.

“Get Back” is a rampant rocker, less polished than the finished article but strong enough to stand up to a brutal & raw solo thrown in by George. The lyrics hint at the racial disharmony track that McCartney’s desperately trying to throw out there ( Competing with John & Yoko’s ‘Revolution 9′ from the ‘White Album’ perhaps? ) but evidently wiser heads took hold & he wised up enough just to have a barbed point at on of Linda’s old boyfriends instead. )

The two versions of “Don’t Let Me Down” are, essentially, warm ups & try outs. A linguine organ part pins the whole track together with Ringo’s rock steady beat. Despite It being John’s song then Paul is taking up much of the reins pointing John in the direction of the way of the track & feeding him lyrics & movement’s when appropriate.

Come the second version John has stated to put a little more backbone in & his voice & really tears into the chorus imploring Yoko to still need him & feed him now that he’s taken the decision to move on from his first wife. This statement of intent doesn’t last long though, John’s fleeting imagination takes flight & he leads the band straight in to a R’n'R pastiche by the name of “Suzy Parker” - another composition that had an airing in the “Let It Be” film but never quite came to fruition.

The first pass at “I’ve Got A Feeling” is a really tough version. A collision of two dog-ends by the Lennon & McCartney songwriting team which provided dividends when spliced together. McCartney has his best yelp on board that really impresses John towards the end who tried to dig out a bit more of the Little Richard magic of Paul’s screams.

The second begins with a few stray bass notes & a little studio chatter. It’s no less sloppy ( In fact it’s very similar to the version where they chart the climactic coda in the film ) but does drag itself together very well to present a little more meat on it’s bones.

“No Pakistanis” is another attempt at ‘Get Back’ but under a different name. It’s cleared of any real story ( It’s lyrics are half remembered mumbles ) & only retains it’s chorus which is obviously it’s main point. It falls in to a messy jam at the end although this is none the less exciting to hear due to Macca’s drive to force his voice to reach the requisite strength.

“She Came In Through The Bathroom Window” is from a different source - closer to an off video tape dub that one of the nagra sources - but is very funny to listen to - Essentially 6 minutes of rehearsals, Paul counts-in in German then John immediately begins to bawl the lyrics in his best cockney impression while Paul does the same.

This changes by the change of the reel to Paul putting on a suave singing style & John continuing the comedy firstly by squeaking a Mickey Mouse tone & then back to bellowing again before the madness calms down & they continue with the track properly but this orderly style can’t last long so the track quickly ends to give way to a barrage of nonsense & chatter before starting up again but no more serious than before before the source ends.

“High Heel Sneakers” is from the same source but lasts just over a minute. It’s a vibrant romp but means nothing in particular it’s just another break between doing any real work.

“I Me Mine” is a spanish flavoured version without lyrics. A run through at most with Paul taking the lead of ‘he who could care less’ this time while George tries to drill though the innards & nuances. Although it’s not one for the scrap book it’s one of the few times that the track would be offered around during these rehearsals.

Disk two begins with an brief run through of the riff of the ‘Rubber Soul’ track “Norwegian Wood” by the band this quickly flows into another rehearsal of “She Came In Through The Bathroom Window” although one thats a little more together than the previous airing. The squeaky - keen guitar line & various ( only just audible ) piano improvs highlight the true differences from the ‘Abbey Rd.’ version although, again, it doesn’t really take off.

“Move It / Good Rockin’ Tonight” are great, pulsating, bass heavy versions for these two oldies. The Beatles are having a lot of fun rendering these into the ground.

Another version of “Two Of Us” has the band picking up the pace to galloping. It’s a rendition used in the film once again so will be familiar to everyone. Rather than the slow buddying version used on the LP it would have been nice to hear some more of this version.

George Harrison contributes a few Dylan compositions & an unreleased one of his own in the form of “Ramblin’ Woman, I Threw It All Away & Mama, You Been On My Mind.” The latter two had possibly been picked up in Woodstock when George took a vacation to visit his buddy ( “Mama .. ” obviously gracing Dylan’s catalogue for quite a few years too ) but rendered in George’s own, imitable & intimate style they show his versatile picking style to it’s best intentions.

“Hare Krishna Mantra” is a VERY loose version of the religious single that was released on the Apple label. It barely merits a mention as it’s a throw away doodle by McCartney but still, it has it’s place on the album.

The next version of “I’ve Got A Feeling” is every bit as brusque as the previous airings but has now started to come together a lot. This also appears in the film - It’s the version where Paul shouts a very loud ‘Good Morning’ after the first chorus. George’s contribution would be quietened down after further work went in to the track but it now appears that they’re coming to the end of rehearsals for this particular track. The anomaly with the track is that due to the tape ending as the take does then it slumps to a halt - This is obviously another reason why the tape wasn’t used any more but is interesting to hear in context.

“One After 909″ is another rehearsal in progress but he attention bestowed on it obviously meant that the Fabs were betting on it’s inclusion in to the set list from the start obviously keen to air it after all these years.

“She Said, She Said” lasts all of 30 seconds so again it’s inclusion is prevalent to the original LP but of no real excitement. “Mean Mr. Mustard” on the other hand stretches itself out for nearly 4 mins - uch longer than it’s brief inclusion on ‘Abbey Rd.” but it is, again, just another song that was written on the back of matchbox so could only be included as part of a medley unless John could get it together to write more.

George’s best loved song “All Things Must Pass” makes a quiet appearance but once again his best plans are thwarted by extraneous noises above his musicianship - It’s only Ringo otherwise that’s keeping behind the lines with a steady & reserved beat. Paul’s extra piano cascades are annoying & while it’s understood that this is a rehearsal someone should have taken the time to tell him to cut it out. Obviously the band’s hearts aren’t in it either so they quickly turn to a John crooned cover of “A Fool Like Me” thats actually pretty appealing if brief.

“Mean Mr. Mustard” makes another appearance on keyboard although it’s no more of a workout than the inaugural version while the Fab’s work out some riffs to stick to it but once John runs out of lyrics the rest peals out to aimless jamming until John throws out another cartoonish skit “Madman” that folds itself into “Watching Rainbows” - the little brother of “I’ve Got A Feeling & “I Am The Walrus”.

It would seem that John favours writing indeterminable bits & pieces of lyrics nowadays & “Madman’s” lyrics are just that - silly doggerel while “Watching Rainbows” fairs a little better & has a bit more structure around it then neither idea would go anywhere but both would drop in to aimless jams much like “Instrumental” which rounds off the CD - an amalgamation between a recording from French radio & another source.

The Remasters Workshop certainly have the right idea but baring the snippets that aren’t readily available on Yellow Dog’s ‘Day By Day’ or Vigotones set or even Batz’s CD of the “Lost Get Back Reels” then this CD could have been compiled from better sources ( and a lot of home bootleggers have taken on the task ) to have formed a rather more reasonable listening experience than a lot of us heard the first time around either on the original vinyl or when tapes were traded.

That Extraction Factory chose to release it is just as baffling as the market for nostalgia in bootlegs really only generally exists if collecting the original vinyl or a high quality bootleg that had evaded your clutches before though that’s not to say that there won’t be certain collectors who have to have everything & for them this CD will be perfect.





Source: http://www.collectorsmusicreviews.com/beatles/the-beatles-the-black-album-extract-factory-ext-005/

More information here: http://archivess-t.fullalbums.org/blogs/2011/03/18/the-beatles-the-black-album/


 
תקנון האתר / site terms   |  |  אתר מאמרים חדש: triger |  אתר עצומות חדש: petitions