Beatles/Complete John Barrett Tapes Upgrade

Almost 10 years after Roger Scott’s sound revolution, the complete story of John Barrett’s sound sources, who worked with him, has now been revealed. This also caused a sensation among enthusiasts, but compared to Scott’s sound source, which was released with a high degree of perfection, Barrett’s version was a rougher and rawer version. is what made maniacs go crazy. This is because, in Barrett’s case, he had worked at Abbey Road Studios, and his focus was on researching the remaining Beatles sound sources. Not only did he write down the results of his research in a notebook, but he also divided them into several parts, compiled the sound source, and put it on a cassette for internal review in preparation for release. That is the source of the leaked sound source. Of course, it was leaked in fragments at the end of the 1980s, mixed in with Scott’s sound source, but the sound quality was poor compared to his part. That’s why the leak in 1999 caused such a huge reaction around the world. Among the items released at that time, items from two companies, Bigotone and Yellow Dog’s Strawberry, seemed to have taken the market by storm, and some of the enthusiasts reading this nonsense owned multiple of those items. I’m sure there are many of you who do. In fact, in 1999, everyone loved listening to those items. However, as the excitement subsided and time passed, it gradually became clear that the items from those two companies were not the best. After all, 1999 was the year when the “Equalization Wars” broke out, due to the spread and evolution of remastered equipment. It is true that at that time there was a strong trend that it was better to eliminate noise, and the items that were popular at the time were more or less equalized. Also, unlike the Scott sound source, a major feature was that due to the development of digital equipment, the deterioration when the sound source was released was kept to a minimum, but since the original was a cassette, hiss noise was still unavoidable. . That’s probably what caused the equalization to overheat. A further problem was that it was later revealed that the items from these two companies were released with their own edits, and the sound source was not commercialized in a faithful form. In the case of Strawberry, the sounds before and after the performance were cut out considerably, and in some cases there were even parts that were faded out. On the other hand, Bigotone had also been edited to a lesser extent, and there were some issues with the channels being reversed. Despite the excitement of 1999, the release of Barrett’s sound source had some problems. “BARE IT ALL” is a masterpiece compiled by MasterJedi in 2013 through thorough research in terms of both sound quality and content. Even before that, compilations of Bullet sound sources such as the Remasters Workshop version had been released, but even there, equalization was added, but in the case of MasterJedi, the sound source itself was not equalized as much as possible, and yet each The greatness lies in the fact that they were particular about recording the longest parts to create the true best version. As a result of our focus on natural sound quality, MasterJedi completely excludes the items from the two major companies mentioned above. I was also fortunate that I didn’t need as many different items as I did for “GREAT SCOTT! IT’S… THE BEATLES,” which is the culmination of Scott’s sound sources. Rather, he and other core enthusiasts evaluated Bullet’s sound source items on CDs released by labels directly affiliated with enthusiasts, such as Ronning Mouse’s TRUE MASTERS and MORE MASTERS, and Unicorn’s ABBEY ROAD TAPES. Those items, in short, were just released without adding any tricks, which is why they were able to record them in a natural and longest state. MasterJedi created “BARE IT ALL” after carefully examining and editing these items. Naturally, “BARE IT ALL” was commercialized for general distribution as soon as it was released, but since it has been a long time since its release and each item, it has been released again this time. Basically, it incorporates “BARE IT ALL”, but the second version of the unreleased album “GET BACK” on Disc-2 is replaced with the previously released version of “GET BACK COMPLETE EDITION”. This is because cuts were made not only in “BARE IT ALL” but also in “Save The Last Dance For Me” in all items, but the same title had been repaired very smoothly, making it more complete. Because it was the content. Moreover, it is easy to understand the difference in sound quality from the previously mentioned items in this “GET BACK” second version part. Strawberry completely eliminates the hiss noise, so the unnaturalness is clearly visible, and even Bigotone has an unnaturalness that is undeniable because the hiss has been suppressed. In that respect, this one has a suddenly natural sound quality, so if you have any of these items, please listen and compare. Another great thing about “BARE IT ALL” is that it captures every detail of the parts that were cut by those items. The scene where this is most obvious is the session scene of “Norwegian Wood” in the first half of Disc-3. In other items, it sounds like conversations before and after the performance that were cut, or fragments of rehearsals that seem to have remained without being overwritten on the tape. These were completely excluded from the items from the two companies. It is enough to say that it has nothing to do with the performance or take, but if you are a Beatlemaniac, you should be interested in these fragments. Regarding the studio session sound sources that occupy Disc-1 and Disc-3, the true value is that you can hear how the songs change with each take, including the unreleased song “That Means A Lot” for example. On the other hand, with regard to the two mixes of “She Loves You”, which are the same performance but only have a mono master, you can clearly understand how they went through trial and error to create a pseudo-stereo if you check them out with headphones. Above all, Scott’s sound source was intended for broadcasting, so he extracted the session scenes of famous songs, and he didn’t touch much of the sound source after 1967, when recording became more complicated. Among them, there were almost no sound sources from 1969, so it is also attractive that the Get Back session can be heard in the clear stereo sound of multi-track recording. And for “Come And Get It,” which has seen the light of day on songs such as “ANTHOLOGY 3” and “ABBEY ROAD” deluxe edition, this mix has an overwhelmingly more natural finish, and many people actually prefer it. Well then. Disc-4’s 1983 Abbey Road Studio Show became famous after the release of an LP recording the event from the audience seats, and mania at the time listened to it with great appreciation, but here we have a clear stereo soundboard recording and the best recording. The appeal is that you can enjoy it. In addition, it is regrettable that Take 1 of “She’s A Woman” is recorded halfway, but it is still a valuable different take that can only be heard here. The pitch rises depending on the song from around “Lady Madonna”, but it was originally recorded in such a state, and the same state can be confirmed in the LP recorded from the audience seats. And the last disc contains material after the Beatles disbanded except for Paul, but contains solo sessions of each person who was archived because it was recorded at Abbey Road Studio. The plastic ax band “Okasan” jam at the beginning is a development that only Japanese people can enjoy. Moreover, John and George’s session was strangely produced by Phil Spector, and it can be said that it is a valuable sound source in the sense of remembering him. Upgrade Points MasterJedi’s remastering is limited to correcting dropouts, pitch correction, channel imbalance correction, and EQ processing to clarify high frequencies, as well as excessive sound pressure level increase and hiss removal (noise Because the mastering policy is to not perform any reduction processing, the original sound source is put together in its best condition, making the most of it. Moreover, because we thoroughly research the best sources, Scott Sound Source in particular combines 28 types of sources to create the best sources. THE BEATLES – THE COMPLETE JOHN BARRETT TAPES: DEFINITIVE EDITION (5CD) Disc 1 (X1 to X8) (65:13) 1. She Loves You (RS 1) 2. She Loves You (RS 2) 3. This Boy (RS of take 15) 4. That Means A Lot (takes 20 and 22) 5. That Means A Lot (take 23) 6. That Means A Lot (test take) 7. Strawberry Fields Forever (RM3 of take 7) 8. Strawberry Fields Forever (RM9) 9. Penny Lane (RM8) 10. Penny Lane (RM9) 11. Penny Lane (RM10) 12. Mr. Moonlight (common stereo version) 13. Mr. Moonlight (take 4) 14. Ob-La -Di, Ob-La-Da (take 5) 15. What You’re Doing (take 11) 16. From Me To You (master take) 17. From Me To You (edit of takes 8 and master take) 18. Thank You Girl (take 14 with end from Take 30) 19. Thank You Girl (RS 30) 20. Yes It Is (RS 1) 21. Down in Havana 22. Step Inside Love, Los Paranoias 23. The Way You Look Tonight 24. Jamming 25. Can You Take Me Back 26. Bonus – Can You Take Me Back (incomplete) Disc 2 (X11-Get Back, X10) (61:37) 1. One After 909 2. Rocker 3. Save The Last Dance For Me 4. Don’t Let Me Down 5. Dig A Pony 6. I’ve Got A Feeling 7. Get Back 8. Let It Be 9. For You Blue 10. Two Of Us 11. Maggie Mae 12. Dig It 13. The Long And Winding Road 14. I Me Mine 15. Across The Universe 16. Get Back (reprise) 17. Teddy Boy (Glyn Johns mix) 18. Teddy Boy (Phil Spector mix) 19. Old Brown Shoe (take 2) 20. All Things Must Pass (take 2) Disc 3 (X12-1965, Barrett Compilation) (78:45) 1. That Means A Lot (take 1) 2. That Means A Lot (take 2) 3. Norwegian Wood (take 1) 4. Norwegian Wood (take 2) 5. Norwegian Wood (take 4) 6. I’m Looking Through You (take 1) 7. I’m Looking Through You (take 4) 8. 12-Bar Original (takes 1 and 2) 9. How Do You Do It 10. One After 909 (take 2) 11. One After 909 (edit of takes 4 and 5) 12. Leave My Kitten Alone 13. If You’ve Got Troubles 14. That Means A Lot 15. Norwegian Wood (take 1) 16. I’m Looking Through You (take 1) 17. Not Guilty 18. What’s The New Mary Jane (incomplete) 19. Come And Get It 20. Rip It Up, Shake Rattle And Roll 21. Kansas City, Miss Ann, Lawdy Miss Clawdy 22. Blue Suede Shoes 23. Cannonball, Not Fade Away, Hey Little Girl, Bo Diddley 24. Mailman Bring Me No More Blues 25. 12-Bar Original (take 2) Disc 4 (extracts from The Beatles at Abbey Road) (65:01) 1. Love Me Do (RS 1) 2. How Do You Do It (incomplete) 3. I Saw Her Standing There (composite of takes 1, 6, 11, and 12) 4. Twist And Shout (edit) 5. One After 909 (take 4 – incomplete) 6. Don’t Bother Me (takes 11 and 12 edit – incomplete) 7. A Hard Days Night (composite takes 2, 3, 4, and 9) 8. Leave My Kitten Alone (incomplete) 9. I’m A Loser 10. She’s A Woman (take 1) 11. Help (take 4) 12. Norwegian Wood (take 1), I’m Looking Through You (take 1) 13. Paperback Writer 14. Rain 15. Penny Lane, Strawberry Fields Forever (take 1) 16. Strawberry Fields Forever (take 7 – incomplete) 17. Strawberry Fields Forever (take 26 – incomplete), A Day In The Life (Barrett mix) 18. Hello Goodbye, Lady Madonna (take 4 – incomplete) 19. Hey Jude (take 9 – incomplete) 20. While My Guitar Gently Weeps (unedited take 1) 21 Because (Barrett mix) 22. #9 Dream (spoken intro by Ringo) Disc 5 (Lennon-Starr-Harrison) (58:44) 1. Plastic Ono Band – Slow Blues Jam 2. Plastic Ono Band – Fast Rocker 3. Ringo Starr – The Wishing Book 4. Ringo Starr – Nashville Freakout 5. Ringo Starr – Stormy Weather 6. Ringo Starr – Octopus’s Garden 7. Ringo Starr – Wine, Women, Loud Songs 8. Ringo Starr – Coochy Coochy 9. George Harrison – I Live For You 10. George Harrison – Dehradun 11. George Harrison – Gopala Krishna 12. George Harrison – Going Down To Golders Green 13. George Harrison – Get Back 14. George Harrison – Pete Drake’s Talking Steel Guitar