Description
“COMPLETE RECORDING SESSIONS” has been well received by enthusiasts as a new generation compilation of Beatles recording session sound sources, but its starting point, “VOL.0”, has already been released. Naturally, there are no session recordings from before their debut, and it starts with a studio recording where Tony Sheridan backed them up (the Beatles do not sing), so it is different in style from the studio recordings from “VOL.1” onwards. However, the convenience of being able to listen to their pre-debut studio recordings in their entirety on one CD, and the convenience of having only the best sources of famous pre-debut sound sources such as the Decca audition, are a big attraction. And above all, there were voices saying, “Since it’s a series, I would like to have “VOL.0″ as an upgraded version,” so the release of the sequel “VOL.3” and the upgraded CD of “VOL.0” were realized. The first half of this disc is taken up by Tony Sheridan, but in the original version produced by Colttukey, a fan shifted the vocal position to the center, creating a so-called fan mix. This was attempted in a fan-produced release called “KICKS KUDOS AND CASH,” but of course it is not an official remix. So for this release, all of these parts have been replaced with the Polydor regular mix. From a documentary point of view, this is the correct answer. In other words, this means that the first edition still has value. Yes, this is because the center mix version can only be heard here. If you have the first edition, please compare it with this regular mix. The Decca Audition Tape, which is the core of “VOL.0”, was also used in “KICKS KUDOS AND CASH”, and was recorded from the fan release “NEVER MIND THE TREMELOES…HERE’S THE BEATLES”, which was so popular that it was the best version of the Decca Tape that The Godfather released “WHERE ARE WE GOING, BOYS? THE DEFINITIVE DECCA TAPES”. Since the LP era, various items have been released on Decca Tape, including bootlegs and official releases, but in the end, it was recognized among enthusiasts that the Decca Gone single, which first brought this sound source to light, and “THE DECCAGONES”, which was reissued on LP by the same label, were the best, and it was “NEVER MIND THE TREMELOES” that finally appeared on the Internet. Regarding the first recording, which was also the audition on June 6th when his major debut finally came true, the long version of “Besame Mucho” has been excavated for a long time, but since it has a rough texture compared to other songs, it has been mitigated by equalization for this release. The sense of incongruity with other first recording songs has been greatly reduced. Furthermore, a bonus track has been added for this release to further enrich the content. Although it cannot be called a studio recording strictly speaking, a rehearsal at the Cavern Club without an audience is recorded as a bonus. Although it is a familiar sound source from the time of Kinney’s “THE CAVERN TAPES CIRCA 1962”, this is recorded from the release of the same name produced by master jedi (known for “LAST LACQUERS”), which repaired unnecessary cuts and also meticulously adjusted the pitch. Since it was already a widely distributed sound source, there are probably many enthusiasts who do not know the existence of his version. The final track on this disc is “A Taste Of Honey” from the Manchester TV show “PEOPLE AND PLACES” on October 29, 1962. Of course, it’s not a studio recording, and it’s recorded halfway through the performance. However, there is no footage of The Beatles’ 1962 TV appearance (naturally, since they hadn’t debuted yet), and this is the only fragment that was barely recorded from the TV speakers at the time. They also performed their debut song “Love Me Do” on the day, but unfortunately, all you can hear here is a fragment. Above all, it’s valuable to have a live performance that is not lip-synced on a TV appearance from this era, and until now it was often mistaken for a performance on BBC radio, and was often recorded at a crazy pitch. Here, it is recorded at accurate pitch, and although it is fragmentary, it is a worthwhile performance. In this way, famous pre-debut recordings such as Tony Sheridan, Decca tapes, and the earliest EMI recordings are compiled on one CD, and in the best version. Another attractive feature is the early version of “I Saw Her Standing There” that can be heard in the added Cavern Club rehearsal. Unlike the later album version and the performance at the Star Club, this one is performed at a calm tempo, and you will be surprised by the unusual arrangement in which John plays the harmonica. Although it may be a different story compared to the main “COMPLETE RECORDING SESSIONS” series, it is an undisputed culmination of pre-debut recordings that can be enjoyed by beginners and enthusiasts alike. For the acetate of “That’ll Be The Day” recorded during the Quarrymen era, please see the also well-received “LAST LACQUERS”. (78:39) 01. My Bonnie [German Intro] 02. My Bonnie [English Intro] 03. My Bonnie 04. The Saints 05. Why (Can’t You Love Me Again) 06. Cry For A Shadow 07. Ain’t She Sweet 08. If You Love Me Baby 09. Nobody’s Child 10. Money (That’s What I Want) 11. The Sheik of Araby 12. Memphis, Tennessee 13. Three Cool Cats 14. Sure To Fall (In Love With You) 15. September In The Rain 16. Take Good Care of My Baby 17. Till There Was You 18. Crying Waiting Hoping 19. To Know Her Is To Love Her 20. Besame Mucho 21. Searchin’ 22. Like Dreamers Do 23. Hello Little Girl 24. Love of The Loved 25. Besame Mucho 26. Love Me Do 27. Sweet Georgia Brown [1962 Version] 28. Sweet Georgia Brown [1964 Version] 29. I Saw Her Standing There 30. One After 909 [Take 1] 31. One After 909 [Take 2] 32. Catswalk [Take 1] 33. Catswalk [Take 2] 34. A Taste of Honey [Partial]
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