Beatles/Complete Roger Scott Tapes Upgrade

In 1983, “THE BEATLES AT ABBEY ROAD” was held to commemorate the renovation of Abbey Road Studios, and Beatles outtakes and sessions were made public for the first time, and the LP recording the event from the audience seats was treated as a masterpiece. It was so much so. John Barrett, a staff member at Abbey Road Studios, was in charge of researching the sound sources to make this event a reality. Also, a British DJ named Roger Scott was asked to facilitate the event, and the work was carried out by them. Barrett, who was a staff member at the studio, said there was no problem, but Scott worked with a malicious scheme from the beginning because it was a once-in-a-lifetime opportunity to peek into the hidden treasures of the Beatles. First, he was secretly recording the process of having Barrett listen to a Beatles session tape. As expected, the recording here will later be leaked as a “monitor mix”. Also, during this work, a cassette copy of the sound source that Barrett compiled for in-house viewing surprised enthusiasts around the world in 1999. As a result, the “THE BEATLES AT ABBEY ROAD” event was a great success, and Scott, who gained trust through this event, released a radio special “SGT. PEPPER’S LONELY HEARTS CLUB BAND – A HISTORY OF THE BEATLES YEARS 1962” in which he wrote about the history of the Beatles himself. -1970” was planned. In the program, he was allowed to touch the session tapes again under the pretext of using conversations during the Beatles’ recording (Barrett, who was already in bed sick, was not involved in this work). “THE COMPLETE ROGER SCOTT TAPES DEFINITIVE EDITION” to be released this time has a part that extracts only the conversation before actually starting “Run For Your Life”, and there was certainly a good reason. However, Scott, who had had evil intentions from the beginning, could not settle for just that, and in the midst of his confusion, he copied the session scene itself. However, he was not foolish enough to immediately leak the recordings he had obtained, and a year after his radio special was broadcast, it was leaked that he sold the recordings for a considerable amount of money to a wealthy Beatles collector. It was the trigger. Then, starting with the session scene of “Strawberry Fields Forever”, the sound source that Scott gradually leaked will see the light of day. The biggest benefit we received from Scott’s sound source was that revolutionary CD “ULTRA RARE TRAX”. Recording with the highest sound quality suitable for the CD media that was emerging at the time fundamentally overturned the concept of bootlegs. The president of TSP, the German label that released it, bought the sound source from a collector for more than 1 million yen, but since the previous title recorded big sales, he should have been able to easily recoup the cost of the sound source. . After that, the Beatles sessions leaked by Scott were released in various forms as collectors “re-sold” the sound sources to various companies. Of course, the sound sources also went to America, and TMOQ’s Ken released the Condor and John Wizard released the “BACK TRACK” series one after another, but the slow pitch of these American items is a concern. At that time, it was still the age of cassette copying, so by the time the sound source reached America, there was a phenomenon of branching and deterioration. After that, a European label calling itself Yellow Dog started a series of recordings of Scott’s sound sources in session units with “UNSURPASSED MASTERS”, which was also popularly known as “Unsurpassed Masters” and still shocked the world. During this period, which could be called a golden age for many enthusiasts, everyone was overwhelmed, with no way of knowing that a single DJ had leaked the sound sources. However, ironically, Scott, the person who created it, passed away at the age of 46 at the same time that Ansapa appeared. In this way, his sound source first appeared on “ULTRA RARE TRAX”, but it was Yellow Dog’s “Ansapa” that spread it in a form that was more faithful to the sound source. However, it is regrettable that the original was a cassette copy, and that it was heavily equalized to eliminate hiss noise, reflecting the historical background of the time. Yellow Dog himself was aware of this, and later released a long version without equalization in the “ULTIMATE COLLECTION” series, which has since been considered the best. Furthermore, unlike John Barrett’s sound source, which had been organized from the time of its appearance, Scott’s sound source, which was released in small portions and had branched copies, took time until the full picture was revealed. Thanks to this, even though it is a super famous sound source, a compilation that summarizes them has not appeared. MasterJedi stood up to this enormous sound source. He has released a compilation and overhaul of high-quality sound sources up until then, and this release can be called the reaching point, and is the culmination of Scott’s sound sources that enthusiasts all over the world have been waiting for, “GREAT SCOTT! IT’S.” ..THE BEATLES”. MasterJedi’s mastery is truly impressive here. Since we prioritized recording the version in its most natural state, the old “Ansapa” was naturally excluded from the selection. Of course, Condor and the “BACK TRACK” series are out of the question. On the other hand, “ULTRA RARE TRAX” suits his taste, and “How Do You Do It”, which opens the huge set, is adopted from there. We are reminded of the greatness of our ancestors. However, the version of “ULTIMATE COLLECTION” mentioned earlier occupies most of the parts. Based on this, the pieces that were cut there were patched together with thorough research from other items. It’s a lot of hard work up to this point, but MasterJedi’s commitment is even more thorough. The best example is Take 9 of “I Feel Fine.” When it was officially released later, it included the sound just before the feedback started, but Scott started copying after this, so that was missing. However, in order to compensate for this few seconds, MasterJedi went out of its way to patch that part from the UK version file of the “Aka version”. What’s more, there is no discomfort at all in the joints. This natural and longest version, with a finish that was precisely adjusted to the dropouts that occurred during the cassette copying stage, was such that a press CD item was released as soon as MasterJedi released it in 2015. It became the definitive edition. For a while, he built a solid reputation as the culmination of Scott’s sound sources, but there were still parts where he had regrets. Therefore, in 2019, he released a patch file that summarizes the areas he had revised. This resulted in an update for the 2015 version. What will be released this time is the latest definitive version including this one. Even if it was not him, the fact that the sound source copy of Take 9 at the end of the “A Hard Day’s Night” session ended after the interlude was a major hurdle in the restoration. If you connect the finished version to the session sound source, it will inevitably feel strange. However, by processing and connecting a new mix made with the Blu-ray version of the movie of the same name, a result that can be listened to without any discomfort was finally achieved. Finally, the longest ending mix created for “THE MAKING OF ‘A HARD DAY’S NIGHT” is connected to make it literally complete. “All You Need Is Love” is even more surprising than this, or perhaps even boring. In order to capture even the last squealing sound that was always cut out in CD items, we purposely adopted the LP version of “ULTRA RARE TRACKS VOL.3” for this moment. And although there is no difference in editing on Disc-5, the entire equalization has been redone. This seems to be a correction for 2015, when I was sometimes concerned about the rough feel of hiss noise rather than natural sound. It’s not a big difference, but the roughness is certainly reduced. This ultimate set, the first two discs are session scenes that have been released so far “PLEASE PLEASE ME SESSIONS IN SPECTRAL STEREO”, “FROM ME TO YOU SESSION IN SPECTRAL STEREO” and “WITH THE BEATLES SESSIONS IN SPECIAL STEREO” ”, but these are mixes that Lord Reith has modified mainly in the position of the vocals. Therefore, there is a big difference from the original recording state, and I think it would be fun to listen to and compare it as a different mix. Now, it is difficult to obtain the “GREAT SCOTT! IT’S… THE BEATLES” file, as well as the 2019 patch file, as the site where it was published has gone bankrupt. 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 ROGER SCOTT TAPES DEFINITIVE EDITION (6CD) DISC 1 (66:42) 01. How Do You Do It (URT) 02. There’s A Place, take 1 (TIO + S2S) 03. There’s A Place, take 2 (S2S) 04. There’s A Place, takes 3-4 (S2S) 05. There’s A Place, take 5-6 (S2S) 06. There’s A Place, take 7-8 (S2S) 07. There’s A Place, take 9 (S2S) 08. There’s A Place, take 10 (S2S + TIO) 09. I Saw Her Standing There, take 1 (TIO + S2S) 10. I Saw Her Standing There, take 2 (S2S) 11. I Saw Her Standing There, takes 3-5 (S2S) 12. I Saw Her Standing There, takes 6-8 (S2S) 13. I Saw Her Standing There, take 9 (S2S + FAAB) 14. Do You Want To Know A Secret, take 7 (Boot63 + S2S) 15. Do You Want To Know A Secret, take 8 (S2S) 16. A Taste Of Honey, take 6 (S2S + Mono) 17. A Taste Of Honey, take 7 (S2S + Mono) 18. There’s A Place, take 11 (S2S) 19. There’s A Place, takes 12-13 (S2S) 20. I Saw Her Standing There, take 10 (S2S) 21. I Saw Her Standing There, takes 11-12 ( S2S) 22. Misery, take 1 (S2S) 23. Misery, takes 2-5 (S2S) 24. Misery, take 6 (S2S) 25. Misery, take 7 (S2S) 26. Misery, takes 8-9 (S2S) + TIO) 27. Bonus – Do You Want To Know A Secret, takes 7-8 in stereo (Boot63 + S2S) DISC 2 (66:47) 01. From Me To You, takes 1-2 (S2S) 02. From Me To You, take 3 (S2S) 03. From Me To You, take 4 (S2S) 04. From Me To You, take 5 (S2S) 05. From Me To You, takes 6-7 (S2S) 06. Thank you You Girl, take 1 (S2S) 07. Thank You Girl, takes 2-4 (S2S) 08. Thank You Girl, take 5 (S2S) 09. Thank You Girl, take 6 (S2S) 10. Thank You Girl, takes 7-13 (S2S) 11. From Me To You, take 8 announcement and master edit (S2S) 12. From Me To You, remnants of takes 8-13 (S2S) 13. One After 909, takes 1-2 (S2S + SS) 14. One After 909, take 3 (S2S + SS) 15. One After 909, takes 4-5 (Anthology + SS) 16. Messages To Australia (MTA) 17. Hold Me Tight, takes 20-21 ( TIO + SS) 18. Hold Me Tight, takes 22-24 (SS) 19. Hold Me Tight, takes 25-26 (SS + S2S) 20. Hold Me Tight, takes 27-28 (SS + S2S) 21. Hold Me Tight, take 29 (SS) 22. Don’t Bother Me, take 10 (SS) 23. Don’t Bother Me, takes 11-13 (SS) 24. Bonus – From Me To You, mono version in stereo ( S2S) 25. Bonus – Thank You Girl, mono version in stereo (S2S + Mono) DISC 3 (72:31) 01. Can’t Buy Me Love, takes 2-3 (TIO + URT) 02. A Hard Day’s Night , take 1 (Anthology + S2S) 03. A Hard Day’s Night, takes 2-4 (TM + S2S) 04. A Hard Day’s Night, take 5 (S2S) 05. A Hard Day’s Night, takes 6-7 (S2S) 06. A Hard Day’s Night, takes 8-9 (S2S + AHDNBlu + YCDT) 07. I’m A Loser, takes 1-2 (S2S) 08. I’m A Loser, take 3 (S2S + UM) 09. I’m A Loser, takes 4-6 (S2S) 10. I’m A Loser, take 7 (S2S) 11. She’s A Woman, take 2 (URT + UM) 12. She’s A Woman, takes 3-6 ( UM + TIO) 13. She’s A Woman, take 7 (S2S + UM) 14. I Feel Fine, takes 1-2 (TIO + S2S) 15. I Feel Fine, take 5 (S2S) 16. I Feel Fine, take 6 (S2S) 17. I Feel Fine, takes 7 (fragment) and 9 (S2S + Red) 18. Christmas Message (Hello Dolly); Speech, take 1 (CCC) 19. Speech, take 2 (UCC) 20. Speech , takes 3-5 (UCC) 21. Another Beatles Christmas Record, different edit (UCC) DISC 4 (74:28) 01. Ticket To Ride, Scott mix (AHOTBY + Audifon) 02. Yes It Is, take 1 (TIO + S2S) 03. Yes It Is, takes 2-7 (S2S) 04. Yes It Is, takes 8-9 (S2S) 05. Yes It Is, takes 10 and 14 (S2S + TIO) 06. If You’ve Got Trouble (UT) 07. That Means A Lot (UT) 08. Help!, takes 1-3, 4 chat (TIO) 09. Help!, take 5 (S2S) 10. Help!, takes 6-7 (S2S ) 11. Help!, takes 8-9 (S2S) 12. Help!, take 10 (S2S) 13. Help!, takes 11-12 (S2S) 14. Help!, RS2 (S2S) 15. Run For Your Life , chat (S2S + ADITL) 16. Norwegian Wood, take 1 (MM + UT) 17. Day Tripper, take 1 (S2S) 18. Day Tripper, takes 2-3 (S2S) 19. We Can Work It Out, take 1 (S2S) 20. We Can Work It Out, take 2 (S2S) 21. Think For Yourself, studio chat (MT’05) DISC 5 (69:45) 01. Paperback Writer, takes 1-2 (S2S + UT ) 02. Rain, RS1 (UT + USB) 03. Strawberry Fields Forever, take 1 (UT) 04. Strawberry Fields Forever, takes 2-4 (UT) 05. Strawberry Fields Forever, takes 5-6 (UT) 06. Strawberry Fields Forever, take 7 (TIO) 07. Strawberry Fields Forever, take 25 minus track 2 (UT) 08. Strawberry Fields Forever, take 26 minus beginning vocal (UT) 09. Strawberry Fields Forever, take 25 (UT + TIO) 10. Strawberry Fields Forever, take 26 (TIO + UT) 11. When I’m 64, take 3 announcement only (TIO) 12. A Day In The Life, RS1 (ADITL) 13. A Day In The Life, RS2 ( ADITL) 14. A Day In The Life, RS3 (ADITL) 15. A Day In The Life, RS4 (ADITL) 16. A Day In The Life, RS5 (ADITL) 17. A Day In The Life, RS6 (ADITL) 18. A Day In The Life, RS7 (ADITL) 19. A Day In The Life, RS8 (ADITL) 20. A Day In The Life, RS9 (ADITL) DISC 6 (65:28) 01. All You Need Is Love , take 59 (RT + UT) 02. Flying, take 8 + overdubs 1-5 (MT(UC)) 03. Hello Goodbye, take 1 (MT’05) 04. Lady Madonna, take 4 (ADITL) 05. Lady Madonna, take 5 (UM) 06. Lady Madonna, RS1 (ADITL + USB) 07. While My Guitar Gently Weeps, take 1 (ADITL + TM) 08. Hey Jude, Las Vegas Tune, St. Louis Blues (TIO) 09 . Hey Jude, take 9 (ADITL) 10. Not Guilty (PST + TIO) 11. What’s The New Mary Jane, take 4 (UM) 12. Because, vocals only (RB + ADITL) 13. Bonus – Can’t Buy Me Love, take 4 without guitar solo (TIO + AHDNBlu + RB) 14. Bonus – When I’m 64, take 3 reconstruction (TIO + RB) Sources used: ADITL: A Day In The Life (Yellow Dog 2001) AHDNBlu: A Hard Day’s Night Blu-ray 5.1 soundtrack* AHOTBY: Sgt Pepper: A History Of The Beatle Years (RMW) Anthology: The Beatles Anthology CDs (Apple)* Audifon: Anthology (Audifon) Boot63: The Beatles Bootleg Recordings 1963 (Apple) CCC: Complete Christmas Collection (Yellow Dog) FAAB: Free As A Bird CD Single (Apple)* MM: More Masters (Roaring Mouse)* Mono: Beatles in Mono CD Box Set (Apple)* MT(UC): Ultimate Collection Miscellaneous Tracks (Yellow Dog) MT’05: Miscellaneous Tracks (Yellow Dog 2005) MTA: Message to Australia (Yellow Dog 2004) PST: The Peter Sellers Tape (Masterdisc)* RB: Rockband Multitracks* Red: The Beatles 1962-1966 UK Red Vinyl (Pbthal)* RT: Rare Tracks (Red Square) S2S: Studio 2 Sessions at Abbey Road (Yellow Dog) SS: Studio Sessions (Tobe Milo) TIO: Take It Off (HMC) TM: True Masters (Geritol)* UCC : The Ultimate Christmas Collection (Yellow Dog 2003) UM: Unsurpassed Masters (Yellow Dog) URT: Ultra Rare Tracks (Swingin’ Pig) URTv: Ultra Rare Tracks vinyl (Swingin’ Pig) USB: The Beatles USB Box Set (Apple)* UT: Unsurpassed Masters (Unique Tracks) YCDT: You Can’t Do That! The Making of ‘A Hard Day’s Night’ * indicates non-Scott sources used for short augmentation only