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6x Love Me Do
Clean
May 15, 2017 12:16 PM PDT
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Love Me Do is a strange little record. Of course, it was the first Beatles record in the UK, and the fab-four also recorded Love Me Do eight times for the BBC. More recently, Paul performed Love Me Do on Pinkpop 12-06-2016.

But that's not the complete story: all in all, the Beatles recorded and released five versions of Love Me Do, and a 6th version remained unreleased. And four different drummers played on these records! Here we present a compilation of all six studio versions of Love Me Do, including the previously unreleased version of 1969. In running order:

1) Pete Best on drums: recorded on June 6, 1962, poor Pete didn't realize that this recording would cost him his seat behind the drum kit. The EMI recording staff were unimpressed by his irregular time-keeping, and the other 3 Beatles didn't mind trading him in for a better drummer like Ringo Starr. But history has been too unkind to Pete Best. True, his timekeeping on the is recording is sloppy, but so are the vocals and the overall performance of the band. Perhaps they were nervous, or unaccustomed to working a in a studio? After all, it was the first time that they recorded a Lennon & McCartney composition.

Pete's drumming seems off during the 'middle eight' (someone to love...), but it seems harsh to blame Pete for it; they had played the song live in Hamburg, and had practiced it in the Cavern before the recording session. So this was the way that Lennon & McCartney wanted the drums to play, but Pete was held accountable for the - rather poor - result.....
Pete's version can be recognized by his drumming technique: it sounds like he hits the snare drum laterally instead of vertically, and he plays a busy pattern during the middle eight. Paul's bass sounds poor in this recording, since he as using his old amplifier. They would acquire their Vox amplifiers after this recording session. Paul's vocals are tentative at times, and his voice quivers a bit in places. This version was released on Anthology 1.

2) Ringo on drums, recorded on September 4, 1962. The fab-four assumed they were recording the definitive version for their single, but didn't know yet that there would be another session on September 11th for this little song......
Ringo's drumming is more regular than Pete's, and he hits the snare drum in the usual way. He doesn't vary the pattern during the middle eight, but has a few small fills. The rest of the band sounds more confident, and the bass sound is better defined (thanks to the new amplifiers).
This version can also be recognized by the hand claps (an overdub), and the absence of tambourines.
The hand claps do raise a question: George Martin wanted Paul to sing the middle eight, so that John could play harmonica. But if they had overdub capability, why not use overdubs for the harmonica and have John sing the middle eight?

3) Andy White on drums, recorded September 11th. Poor Ringo was relegated to play the tambourine, but he does it with verve and competes with White for the loudest percussion sounds. Andy White is an excellent time keeper, he plays as regular as clockwork. The overall sound of the recording is the best of the early 3 recording dates. This version can be recognized by the absence of handclaps, and the presence of the tambourine. Also note that a fair dose of reverb is applied to the vocals. This version would make it unto most copies of the single, although the first pressing used Ringo's version.

4) Billy Preston on keyboards, recorded on January 28, 1969. The Fab 4 revisited Love Me Do during the Let It Be recording sessions. Of course, Ringo Starr on drums, while Billy Preston is at the Rhodes electric piano (and Alan Parsons at the controls as engineer). This fourth version has not been released, and in its rough form sounds not too interesting. We edited the Let It Be version to produce a pleasant - stereo! - mix, that might well have been included on the Anthology series. The complete version is available elsewhere in BDJ's Cellar full of Remixes.

5) P.S. Love me do - Paul McCartney, featuring Chris Whitten on drums. Paul made a song mixing two of his first 2 songs, P.S. I love you and Love me do and called it "P.S. Love me do". P.S. I Love You" was the b side of "Love Me Do" single in 1962.
A live version of “P.S. Love Me Do” recorded on April 21, 1990 at Maracara Stadium, Rio de Janeiro, Brazil was released as a b-side on a U.K. CD single on October 8, 1990 which featured a live recording of The Beatles track “Birthday” as the a-side. Here we use only the Love Me Do verses of the song. There is not much appeal in this hybrid song. Perhaps Paul released this single to show the finger to Michael Jackson and Sony, who owned the rights to most Beatles songs and refused to trade them to Paul: these two songs are the only Beatles songs that McCartney controls, because when he first signed to EMI they had a publishing company called Ardmore and Beechwood which took the two songs, "Love Me Do" and "P.S. I Love You". In doing a deal somewhere along the way Paul was able to get them back and the copyrights now belong to Paul's company MPL Communications Ltd.

6) Ringo vocals: recorded on VH1 Storytellers, a live album by Ringo Starr released in 1998. The album flopped worldwide..... Perhaps this Love Me Do is Ringo's revenge on George Martin and the rest of the world, since this is clearly the best sounding version.

So which of those 6 versions is 'best'? You decide!

A Day In The Life; Stereo Remaster
Clean
April 14, 2017 06:44 AM PDT
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For most fans, a Day in the Life is their favorite track on Sgt Pepper's Lonely Hearts Club Band. Some even consider it the Beatles best song.
Considering its impact, the production on the stereo release on Sgt Pepper sounds rather understated; Lennon's voice floats around from left to right for no reason, and even the piano appears to move around the room....

Hence, the BDJ engineers decided to make a new Stereo remaster, based on the original tapes. Now, Lennon is firmly seated in the middle. As a bonus, we can now hear clearly L/R separated where vocals were double-tracked, the orchestra was quadruple-tracked, and how the final chord was built up.

What will Giles Martin do with the same recording? We'll know on June 1st.

POSTSCRIPT: Well, the Deluxe box arrived. The remix by Giles Martin is rather similar to the remix presented here; vocals remain nicely in the middle throughout. Giles mixes in some stereo vocal chorus that I didn't have..... Main difference appears to be that Giles mixed Paul's bass to the right, while here it is in the middle. And Giles included the end groove in A Day in the Life. Not correct, in my view, the end groove is independent from ADITL.

Try Some Buy Some ft. Ronnie Spector
Clean
March 21, 2017 07:09 AM PDT
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Harrison wrote "Try Some Buy Some" in early 1971, in an attempt to relaunch the singing career of former Ronettes lead singer Ronnie Spector. Ronnie was married to Phil Spector at that time, who produced the record. The track featured star performers: Harrison played guitars, Gary Wright (Spooky Tooth) keyboards, Klaus Voormann (Manfred Mann) bass, John Barham string arrangement, Jim Gordon (Derek and the Dominos) on drums, Pete Ham (Badfinger) guitar. The song would be included on a planned comeback album on the Beatles' Apple Records.

Harrison wrote the song on an organ, while he used to compose on guitar. This may explain the strange harmonic structure of the song. Klaus Voormann recalls that he had to step in so that Harrison could hear the entire piece played through: "He played the song on the piano with his right hand, just with three fingers. He couldn't play with five fingers and he couldn't play the whole song with two hands on the piano. I had to play the left hand part so he could hear how the whole song sounded."

Also note that the song is a waltz (3/4 rhythm), which is unusual for a pop song. It includes some rhythm patterns that are derived from Indian music.

It was released as an Apple Single in 1971 (and included on the CD “Come and Get It: The Best of Apple Records” in 2010).

The single flopped and the critics were not forgiving for this Harrisong, or Ronnie’s singing…The whole thing turned out to be a huge disappointment, in particular for Phil Spector, who had put enormous effort in producing his trademark ‘Wall Of Sound” backing track for the song. Phil was proud of his achievement and expected that it would be hailed as a masterpiece. However, it appears that the Wall of Sound concept had outlived its days, and the song was far too ‘deep’ for Ronnie’ audience. The whole come-back album was scrapped, and Ronnie and Phil divorced……

In 1973, Harrison added his own vocal onto the 1971 instrumental track and included the result on his album Living in the Material World. Some critics find it doesn’t fit on the album, and Harrison may be singing in a key that was a bit too high for him (because he used a backing track made for Ronnie).

Lennon liked the song and later said that the descending melody played by the string section was an inspiration behind his 1974 song "#9 Dream". The lyrics may also have something to do with “Buy Some Try Some”, as both songs begin with a reference to the past: "Way back in time / Someone said try some…. Compare with #9 Dream: “So long ago, was it in a dream, was it just a dream?”

Earlier, Lennon already based the musical backing of his 1971 single "Happy Xmas (War Is Over)" on that of "Try Some Buy Some".

In recent years, "Try Some Buy Some" has won more acclaim, and its unique musical structure is recognized.

Paul-René Lee alerted me to Ronnie’s 1971 version, and making a duet with Harrison’s 1973 version was straightforward, since both used the same backing track.

The Best of Both Worlds?

BeatLess
Clean
February 16, 2017 02:28 PM PST
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2016 has been a prolific year for celebrity deaths. A fair number of the celebrities who passed away in 2016 were - somehow - connected to te Beatles.

In this track, we remember the 2016's famous losses, in a touching tribute to their talent, inspired by one of The Beatles finest songs, In My Life.

The Beatles celebrities in this mix are:

- David Bowie (“Fame” with Lennon)
- Glen Frey (Eagles, became musician after attending a Beatles concert)
- Paul Kantner (Jefferson Airplane, jammed with McCartney)
- Terry Wogan (interviewed Beatles many times)
- Prince (played guitar solo in the Concert for George)
- George Martin
- Tony Barrow (Beatles press officer)
- Carry Fischer (film with Ringo)
- Henry McCullough (guitar in Wings, played solo on My Love)
- Muhammad Ali (photo opportunity with Beatles)
- Scotty Moore (Guitar whit Elvis, jammed with McCartney)
- Toots Thielemans (jazz player, inspired Lennon to play Rickenbacker guitars)
- Al Brodax (producer of the Yellow Submarine film)
- Leonard Cohen
- Greg Lake (Emerson Lake & Palmer, befriended Ringo and Paul)
- Sam Leach (impressario of the Early Beatles)
- Allan Williams (manager of the Early Beatles).

This remix is inspired by Fab4cast 67, "Death & The Beatles" - in Dutch only...- , which can be heard and downloaded at:

http://web.avrotros.nl/podpourri/luisteren/fab4cast.aspx

Hey Jude, Isn't it a Pity?
Clean
February 13, 2017 03:54 PM PST
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There are a number of similarities between Harrison's song (form his first solo LP) and McCartney's Hey Jude. They last (almost) as long, and most of the song consists of the outtro (a hallmark of later Beatles tracks).
But would they mash well? That's what Paul-René Lee asked me to try. Here it is, judge for yourself!

BDJ's 2016 Christmas Remix
Clean
December 11, 2016 02:01 AM PST
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It has turned into a tradition, the BDJ Christmas remix; in the past 4 years, a Christmas special was posted here, often lasting for 30 mins or more.

This year, the Cellar received numerous requests for remixes, as a follow up to the broadcast of remixes in the Fab4Cast 64 and 65. (listen at http://web.avrotros.nl/podpourri/luisteren/fab4cast.aspx)

Some requests were for remixes with songs by the Electric Light Orchestra (ELO), others requested remixes using the Beatles Christmas records (issued to members of the Beatles fanclub in the 60's).

As a stroke of genius, we decided to combimne all requests, and mash-up ELO with the Beatles Christmas records.

The result may not be the finest tune you've ever heard, but it is still more pleasing than Happy Christmas (War Is Over), or Wonderful Christmas Time. Only Ding Dong Ding Dong comes close......

Manchester, November 20, 1963
Clean
December 10, 2016 02:43 PM PST
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Went to see the film 'Eight Days A Week". A splendid time was guaranteed for all, and it was exciting to see the Beatles live on stage. I found it disappointing that of the live performances are interrupted by interviews; these add little to the story, but break the spell of watching the Beatles live.

I noticed hardly any new material as such; virtually all was available on Anthology, or on bootlegs. I was struck, however, by the quality of the concert in Manchester, of November 20, 1963. The Beatles performed two shows at Manchester's ABC Cinema on their 1963 Autumn Tour.

During the first show, Pathé News filmed the group performing. Accompanied with backstage footage and crowd scenes, this became an eight-minute cinema feature entitled The Beatles Come To Town, shown for a week from 22 December 1963.

In Eight Days a Week the show is presented with great picture quality (widescreen, not TV), and sound in HiFi stereo! This may well be the best quality document of any Beatles concert!

Unfortunately, only 2 complete songs are included in the extended DVD-CD set, She Loves You and Twist and Shout.

These are also the songs that were known before, in much lesser quality. Was the remainder of the concert recorded, and does it still exist? I hope so, but I doubt it.....

For the real Beatlemaniacs, I have recreated the 1963 Manchester concert, using the 2 songs actually from that concert, and the remaining setlist from concerts around the same time. This recreates the original sound of their concerts at that time: dominated by the warm, compressed sound of the VOX-AC30 amplifiers. A few months later, they would switch to the somewhat harsher sounding AC-50s and AC-100's, since the AC-30's weren't loud enough for the stadium concerts in the US.

So clap your hands and stamp your feet!

Setlist 1963-11-20

1 I Saw Her Standing There
2 From Me to You
3 All My Loving
4 You've Really Got a Hold on Me (The Miracles)
5 Roll Over Beethoven (Chuck Berry)
6 Boys (The Shirelles)
7 Till There Was You (Meredith Willson)
8 She Loves You
9 Money (That's What I Want) (Barrett Strong)
10 Twist and Shout (The Top Notes)
11 From Me to You - reprise

Come Together: Stones vs. Beatles
Clean
October 08, 2016 01:53 PM PDT
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The Rolling Stones closed out the opening night on October 7th of the all-star Desert Trip festival in Indio, California with a greatest-hits set that featured a few surprises, including the rock legends' first ever attempt covering the Beatles' "Come Together."

The Stones faithfully ran through the Beatles song complete with an extended guitar solo courtesy of Ronnie Wood and Keith Richards and a mouth organ solo by Mick.

How does it line up against the Abbey Road original? Judge for yourself: The Stones (left) and the Beatles (right) battle it out in this duet.

Every Day (BDJ Singers cover)
Clean
October 11, 2015 08:42 AM PDT
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"Every Night" was written by Paul McCartney while he was on holiday in Greece, and first released on his McCartney album on April 17, 1970.

Every Night is a long-time favourite Macca track of mine. Why? Just so, but the lyrics have a calming effect that resonates with me; I like to be home too. And the chords changes are great too.
But overall, the appeal form me is how the lyrics and music are completely aligned; you could feel much of the emotion of the song from the music, even if you didn't know the words.

This starts by droning the low E on the opening bars. Although the E chord seems to alternate to a sort of Bm7 chord, this is all done by changing just 1 note in the chord. In concert, Paul just lifts his pinky here from the high E string, nothing more. This prolonged E sound is the 'home key', and fits beautifully with the concept of staying home in the lyrics.

The long E sound creates tension, and we then get a quick succession of chords that suggest a move to the key of A. (Listen to Mull of Kintyre for a similar move just before the bagpipes come in). But before we really get there ("and every day I want to do"), Macca plays a F# major, instead of the F#minor. The major chords drives us directly back to the key of E. Again, this marvellously reflects the lyrics: he thinks of going out (moving to the key of A), but quickly decides to stay home (in the key of E).

The 'middle eight' is ultra simple: no lyrics, just 'woooooo' and a simple blues chord progression. Did Macca run out of creative ideas? I don't think so. I suppose he liked this simple section to reflect the simple pleasure of staying at home with his loved one. He doesn't want to DO anything, just BE there. What better way to express this?

Macca may have been inspired by Bob Dylan's "Tonight I'll Be Staying Here With You", which expresses a similar sentiment; and it has a long E7 chord to start-off with. You can midrash on the lyrics if you will: is it about a life in the Beatles, versus living & performing with Linda?

So there you have it. The BDJ singers cover Every Night, basically emulating Macca's version. Who could do better?

NB The picture shows Macca playing the long E chord.

Temporary Secretary (Live)
Clean
May 25, 2015 08:28 AM PDT
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"Temporary Secretary" is featured on the 1980 album McCartney II. It was released as a third single from the album only in a form of 12" single. McCartney claims that he viewed the song as an "experiment", somewhat influenced by Ian Dury.
It indeed showcases Macca's 'avant-garde' strand and may be Pauls attempt to outdo the Who's 'Won't get fooled again' in its repetitive synthesizer riff.
Macca played the song for the first time ever at the O2 Arena in London on May 23, 2015. This is the audience recordings of the June 7 concert in Amsterdam (which I attended).

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