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Post by Bobber on Jan 27, 2015 10:27:36 GMT
This from the excellent Wogblog: Comprehensive BBC set starts circulating Starting to circulate among collectors is a new, free 24 disc set of Beatles material from BBC Radio. The set is designed to accompany Kevin Howlett's book The Beatles: The BBC Archives 1962-1970. Each disc can be stored in a separate case, or they can be placed in slim cases and housed in the box intended for the book. They will fit in the UK box, not in the US one, because that box was a bit smaller. In the book box The set includes every known surviving BBC radio music and interview appearance from 1962-1970, plus guest appearances by other acts, and (as bonus items) interviews with those involved in the sessions. The sessions are arranged chronologically, with several Special Editions including the complete 5th birthday Saturday Club, The Beatles Abroad, all of the group's appearances on the Top Of The Pops radio series up to 1970, the BBC Beatles Night in December 1963, and even a DVD of their surviving BBC TV appearances. All tracks have been pulled from the best possible sources including original transcription discs and tapes. Dropouts, mains hum and other annoyances have been carefully removed. Noise reduction has not been used, although some sources had noise reduction burned in. Early fades have all been fixed where possible. This has been a huge undertaking, which I am sure the people behind it have spent years of research and audio enhancement work. A number of upgrades are included, plus some previously unheard guest appearances. And as a special bonus, a selection of never before heard continuity from the Light Program and Home Service is included, giving a bird's eye view into the hilariously stuffy state of British radio in the early 1960s. The makers of this amazing collection are not doing it for profit, but because they feel all of The Beatles BBC material should be out there for fans to enjoy and historians to scrutinise. In fact, the set is distributed as free download links, and the people behind it are is are encouraging the fans to continue to distribute this set freely before it gets picked up and distributed for profit by the real bootleggers. They are also encouraging everyone to buy Kevin Howlett's book, not only to get the box to house the collection, but also because it's a vital piece of the BBC puzzle and will enable everyone to put the audio discs into context. They are also asking people to support the artist and buy the official BBC albums. As they say: This is a fan project, not a bootleg. Don't charge money for copies. Volume 1 If you have any of the previous releases of the material, like the one from Purple Chick (an earlier non-profit Beatles BBC project), this is a huge update, both regarding upgrades of songs and chat as well as newly unearthed material. And if you have managed to get hold of the 2010 "Unsurpassed Broadcasts" series, this one surpasses it, both in volume and because it contains material that has been found since then. Doug Sulpy calls this set "core" in his latest issue of The 910, in fact he even says that it's too comprehensive! The one thing is, if you want discs, you have to burn them yourself, and the same goes for the artwork, you'll have to print it out. Volume 1 can be d/loaded here: www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FXOpo0jIAMfVolumes 2-24 are about to come up pretty soon.
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Post by Bobber on Jan 27, 2015 11:46:40 GMT
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Post by Bongo on Jan 27, 2015 23:52:53 GMT
Interesting. Txs Bobber, nice find
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Post by Bobber on Jan 28, 2015 8:44:13 GMT
Volume 3. Mostly Pop Go The Beatles this time. Music and chat for episodes 2 and 3 was pre-recorded the same day (with ep3 first), but there are indicators here that like many BBC shows the actual broadcast was a mixture of session tapes and live links. In episode 3, Lee Peters apologises for having gotten Ringo's birthday wrong in episode 2 and mentions fans writing in to correct him, something that obviously could not happen if both shows were completely pre-recorded. This happens at other times in the series too. It might also explain why when the series was aired on the World Service in 1964, new narration needed to be provided by another announcer. While Lee Peters proves to be quite witty, he makes a few snide remarks here and there which makes one wonder whether The Beatles had him booted out and replaced in the next series. In a later volume Paul relates a story about how they arrived at the studio early one day to find the staff all listening to jazz in the control room. So there may have been a bit of jazz snobbery going on. A few guest appearances by other artists show just how far removed The Beatles were from their contemporaries at this time. An unintentionally funny moment comes when Carter Lewis is obliged to omit the word "damn" from the line "I don't give a damn about a greenback dollar", such was the BBC's stuffiness. For those of a rigid moral nature, more sustenance can be found in track 57. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FvrqqhuAWdUOriginal recordists Tracks 37-42, 47-51: Margaret Ashworth Other recordists unknown
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Post by Bobber on Jan 29, 2015 8:44:57 GMT
Is anybody interested in this? Or can I better save myself the trouble? Volume 4. Some great performances here. Presented for the first time is a near-complete version what is widely regarded as their best ever BBC appearance, that for PGTB episode 5. Included is a cracking guest appearance from keyboard virtuoso Graham Bond, with Ginger Baker (later of Cream) on drums. It's interesting to compare their BBC versions of I Got A Woman and I Saw Her Standing There to The Beatles, a world apart but each with their own merits. The embryonic R&B scene would soon explode into public awareness so it's cool to see Merseybeat and R&B alongside each other at this early stage. PGTB 5 also marks Rodney Burke's debut as announcer, but he seems to think the audience was mostly under 5s. At the end of the disc Paul and Ringo share some interesting recollections about the sessions. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FQ1ccUXZKfVOriginal recordists Tracks 14, 34, 35, 37, 39, 41, 42, 43, 47: Margaret Ashworth Other recordists unknown
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Post by mcping16 on Jan 29, 2015 13:58:58 GMT
Yes please. This is brilliant. Thank you so much. :-)
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Post by Amadeus on Jan 29, 2015 18:32:43 GMT
Yes. Thank you Bobber. It'll replace my previous 'Complete' BBC sessions. That's a lot of material. Thanks for doing it one a day too. Seems less daunting.
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Post by Bobber on Jan 30, 2015 8:51:10 GMT
Volume 5. Nothing but Pop Go The Beatles this time. Incredibly three of these sessions were recorded in one go - July 16th - which blows away their previous effort of recording the Please Please Me album in one day. A consequence of this is that they recorded very little chat that day and shows 9 and 10 have no Beatle chat at all, prompting indignant letters from listeners. Once again there are indications that Rodney Burke's links were actually live - during track 53 he mentions many people writing in to request She Loves You, which had not yet been released on July 16th. The complete guest appearance by Russ Sainty exists, but only two of his numbers would fit on this disc. The other three are contained in a separate folder. If you are not burning to disc then simply copy these into the main folder. This is one of only two shows (the other being 5) for which we have almost the entire half hour. Countless minor cosmetic repairs have been made as usual but I won't go into these, suffice to say that if I've done my job properly you shouldn't notice anything. I will just comment that Long Tall Sally is the unedited version - on the official release there are some notes edited during the first guitar solo. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FwnRJbOQvYhOriginal recordists Tracks 4-6, 10-12, 14, 18, 23-28, 31-34, 38,40, 49, 54, 59, 61, 63, 65: Margaret Ashworth Other recordists unknown
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Post by Amadeus on Jan 31, 2015 17:49:42 GMT
I'm done disc 1. It's neat having the odd little contemporary thingy inserted here and there to give it a bit of context.
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Post by Bobber on Jan 31, 2015 19:34:00 GMT
A real assortment here. We start off with Saturday Club, featuring another great vocal from Paul on Long Tall Sally and a real lively version of Glad All Over, so very different to the one they'd recorded two weeks earlier. If anyone knows what the little ditty before You Really Got A Hold On Me is called then please speak up! Apologies for the dreadful sound quality of track 3 - do not adjust your radio sets. Ooh! My Soul is the complete unedited version, unlike the official releases which were cut to ribbons. Long John Baldry makes a guest appearance and would later return in the Around The Beatles TV special. Baldry was one of the circle of R&B afficionados which included Alexis Korner, The Rolling Stones etc. This show (and the next) are notable for a change in recording technique with much louder drums and bass than before. This is possibly down to a change in producer (Ian Grant) and engineer (Keith Bateson). She Loves You (which would have been track 19) is sadly unavailable at this time, one of only two songs missing from the Pop Go The Beatles series (the other being the very first song broadcast). A snippet of a version was included on the Yellow Dog set but it is the wrong version (from 16th July). A copy exists but sadly the owner would not release it for use in this set. PGTB from 3rd September includes a couple of upgrades probably unfamiliar to many people (I'll Get You and Money) plus upgrades of three tracks by Brian Poole, who gets to perform Twist And Shout "by special dispensation". There's also some unbooted links from Rodney Burke (including the stock lame jokes). There's A Place was apparently recorded for this show but in any event the recording from July 2nd was used for the broadcast. Why exactly this happened is anybody's guess. At the end are The Beatles contributions to The Mersey Sound TV special, including a great upgrade of She Loves You unearthed recently. Two different versions of Twist And Shout were also performed, plus a rather amateurish sounding instrumental. The show "Two Way Favourites" was a vehicle for listeners to request records for their relatives in the armed forces. John did a cheeky parody of this during the 1965 Beatles Christmas record. The little ditty before You Really Got A Hold On Me is a very improvised version of Moonglow (Theme from Picnic), an instrumental that they used to do in the early days. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2Ft62KPK3IRcNote that the Howlett book is being discontinued to make way for a new edition without the box on April 16th. If you intend to buy the box, do so now. Amazon UK still have plenty left. The US box as I said is too small. Original recordists Tracks 4-12, 20, 21, 31, 34, 38: Margaret Ashworth Tracks 22, 41-47 from BBC archives Other recordists unknown
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Post by Bobber on Feb 1, 2015 19:57:02 GMT
As posted by Lord Reith on the forum of Bootlegzone. Unless stated otherwise, all the information provided with each cd comes from this source. The last three Pop Go The Beatles, once again all recorded in one day and totalling a whopping 18 separate performances (She Loves You was only recorded once), their greatest ever marathon session. Also they somehow managed to find time to record extensive chat. Amazing. Episode 13 for some reason had 7 Beatle numbers instead of the usual 6. Till There Was You has never circulated before, and can be heard here for the first time in over 50 years! The quality is not as good as the other tracks but is still interesting, very similar to the Royal Variety performance except with the high notes at the end (the last time Paul ever sang it this way). The rest of the tracks from these three shows appear in their best ever quality, with all the bass distortion and limiting gone. They really sound wild on a few of these tracks and were clearly enjoying themselves. A few segments of unbooted chat are included. This Saturday Club was the 5th birthday edition and was recorded live as a keepsake by producer Bernie Andrews, explaining the sterling sound quality. The whole two hour show will feature on a subsequent volume, but here are The Beatles segments. Memphis is the full unedited version. For the commercial release the intro from the PGTB 7 performance was tacked on the front to remove the voiceover. At the end is the performance from The Ken Dodd Show, which strangely had screaming teenage girls present - not Ken's usual audience! One can only guess that news of The Beatles' scheduled appearance leaked out in advance. The Flowerpot Men was a popular children's puppet TV show, the closing song from which began "Goodbye Bill, Goodbye Ben". www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2F5YpJraMoK7Original recordists Tracks 4,7,9,14,16,19,24,26,31,36,41,43,45,47-52: Margaret Ashworth Tracks 54-64: Bernie Andrews Other recordists unknown
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Post by Bobber on Feb 2, 2015 9:17:02 GMT
This is the first of two discs featuring the 5th birthday edition of Saturday Club, taped for posterity by producer Bernie Andrews. Almost the whole two hours is here, save for the news break halfway through and perhaps one other song. It's a great insight into what it was like to be a British teenager in 1963 and just how different The Beatles were from all their contemporaries. The trad jazz boom was on its last legs but still had enough followers to warrant regular intrusions by the likes of Kenny Ball and Clinton Ford. There's a nice live sessions by The Everly Brothers, Frank Ifield and Joe Brown. Also recorded congratulations from many people including some from across the pond in America, who had no idea of what was coming in just a few short months. 30 minutes from Saturday Club was also fed live into the World Service each week, so the show also had followers in many other parts of the world. Amazingly in early 1963 The Beatles received a request from a listener in Egypt (!) www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FwDFvo269gI
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Post by Bobber on Feb 3, 2015 10:17:16 GMT
The second half of Saturday Club. Interestingly, four of the songs by other artists - Take Good Care Of My Baby, Sheila, A Picture Of You and I Remember You - had all been in The Beatles' repertoire only a short time before. I Remember You is notable for featuring a trumpet instead of harmonica! www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FKF5DCGMtC4Tomorrow: volume 8.
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Post by Amadeus on Feb 3, 2015 17:17:49 GMT
Thanks again. It's nice having the other contemporary stuff mixed in to give it context. The Saturday Club stuff is really good for that.
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Post by Bobber on Feb 4, 2015 8:28:59 GMT
Volume 8: With Pop Go The Beatles now history, the BBC sessions became more of an opportunity to plug their records which, by and large, were barely heard on the Beeb. There were still precious few shows that would actually play rock and roll records and so these live sessions were the only chance groups had to plug them. Which is great for us, but it must have been frustrating for them. There was so much concern about The Beatles' safety during this Easybeat session that Brian Epstein banned them from doing any more radio sessions with audiences. The Peter Woods interview is hilarious, although oddly enough they repeated it almost word for word on film a few minutes later (which you'll see on the final volume). The Public Ear was a magazine style show which the group enjoyed listening to, and there's some interesting interviews that go beyond the usual questions about haircuts. Pete Best even gets a chance to grumble about his lot, something he would eventually turn into a full blown career :lol: If The Beatles heard this particular episode, this would have been the first time they became aware of his feelings. This show was picked up by the BBC Transcription Service for overseas sale on disc, which explains why it still exists. The Saturday Club is a good one with plenty of witty banter, including an upgrade of IWTHYH shared on youtube a couple of years back and overlooked on the official set. The medley is fun. Sometimes it gets credited as "Shazam" but the similarity is probably unintentional. She Loves You is the same recording as from the birthday edition, for reasons unknown. Rolf Harris first met the group at the Swinging Sound 63 broadcast heard on V2 (he can be heard at the very end after From Me To You). It seems they got along well although according to his biography he was sometimes on the receiving end of practical jokes during the Christmas Show at the Astoria. With their usual good cheer they join in with his biggest hit, showing their versatility and ability to come off well no matter how peculiar or artificial the circumstances. This show now sounds better than ever. I Want To Hold Your Hand is the unedited version. On the official BBC set the second middle section (from "and when I touch you" up to "yeh you got that something") is cut out and replaced with a copy of the first, losing Paul's harmony and rather spoiling the song. At the end is an incomplete superior alternate source for track 21. Unfortunately the guy taping (the same one who taped track 19) wasn't that interested and changed the station midway through the song, before returning once more and then switching off before the end. The missing bits are pasted in from another source. Also included is a patch for V5. This is just one track (Please Mr Postman) which is fixed to remove an annoying glitch during the opening line. The glitchy part has been replaced from an alternate source. Also the corrected artwork for V6. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FQPYuQTAmkw
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Post by Bobber on Feb 5, 2015 11:05:35 GMT
We momentarily switch our attention to The Beatles BBC TV output. This night was a real coup for The Beatles: a whole hour of prime evening television to themselves. Quite extraordinary for a group that only a year before had been playing in a dive in Hamburg's red light district. Both programmes were recorded the same afternoon at the Liverpool Empire before members of the fan club. The Juke Box Jury special is a great listen as it reveals them talking at length about the one thing they were most passionate about: music. Even if they didn't really like most of the records chosen, their views on what is commercial and why are fascinating. There are also plenty of funny moments, like where John puts his foot in it by panning The Orchids, only to be told afterwards that they are sitting in the audience. He recovers the situation with typical Lennon humour. It's just a shame that we can't see what is going on because like nearly all BBC tv programmes of the era it was uncerimoniously wiped after transmission. However this is a new off air recording discovered during the "Treasure Hunt" campaign in 2004 and has not been heard till now. The quality is great and has been further improved here by dubbing in the original records. The concert appearance was controversial at the time because of the perceived poor techical quality. The camera work was mediocre and reportedly featured only one single close up of John in the entire show. Ringo's mic remained totally dead throughout his number, and many viewers said there were too many shots of the audience. There's an account of The Beatles watching the broadcast in their dressing room in a state of dismay, with Paul commenting that if he was someone unfamiliar with The Beatles then he'd wonder what anyone saw in them. Luckily they still turned in a great performance, although once again the videotape was not archived. However it was innadvertantly preserved in part by being selected as a training tape for enginners to practice physical edits on. Gradually over the years the precious master was whittled away by apprentice technicians, until only parts of only four songs remained, plus a short reel of audience shots. The first poor quality boots of the complete soundtrack appeared in the 70s, and were all that was available until an in-line version appeared on youtube decades later. However even that version had severe wow and flutter and frequent loud clicks. A third tape has been freshly transferred for this set, and although it is incomplete (missing From Me To You, This Boy and the between-song chat) it has been restored and edited together with the youtube version to create the best sounding version of this concert ever (the only complete Beatles concert recording we have from 1963). The existing video clips will appear on the final volume. Included as a bonus at the end are two solo Beatle appearances made for Juke Box Jury. John upset a lot of viewers with his forthright views, especially Elvis fans who didn't take kindly to their idol being likened to Bing Crosby. Even some of the fellow panelists sound a little taken aback by his comments. However, there is little doubt that he was actually correct in his views. At a time when the British hit parade was incredibly insipid, John's musical taste was way ahead of its time. George's appearance is far more lighthearted, although sadly only excerpts seem to survive. Ringo also made an appearance, but the existing recording is so poor as to be virtually inaudible. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2Fh7V35jQYGLTomorrow: The Beatles conquer America and the Beeb is on the spot to capture it all for UK listeners. PS: The four surviving track of It's The Beatles were released on the Empire Strikes Back DVD. Here is an MP4 with that bit of film. The picture quality is quite nice. www.mediafire.com/download/3gins1n7qalfvd6/ITBforBBCBN.rar
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Post by Amadeus on Feb 5, 2015 16:35:01 GMT
Thanks again. This is great stuff and frighteningly thorough.
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Post by Bobber on Feb 6, 2015 8:27:20 GMT
We head into 1964 now and Beatlemania moves up a gear. George and Ringo make a brief contribution to The Public Ear, and then it's an on-the-spot report of the US arrival for Saturday Club. This must have seemed like a dream to listeners in the UK as their success in America was unprecedented. The Beatles sound stunned and overwhelmed in their phone interview with Brian Matthew. Brian for his part seems tickled pink that the group he'd championed for the past year was now the greatest attraction in the world. Before they left for the US they also taped a music session for Saturday Club which timed in nicely with news of their Stateside success. Like their previous appearances they plugged their current records but also threw in a couple of unreleased numbers, this time a peppy version of The Hippy Hippy Shake (surely performed to put The Swinging Blue Jeans in their place) and a laid back four in the bar treatment of Johnny B. Goode, which seems to go awry during the guitar solo. The recording of I Want To Hold Your Hand was reused from their December appearance. Another phone interview follows, and then some more entertaining contributions to The Public Ear, a show which they particpated in eagerly it would seem. The second From Us To You special was the first Beatles music session to be picked up by the BBC Transcription Service, who reformatted it and pressed it onto a one-sided disc for overseas radio stations. Here it has been re-edited into its original sequence with the missing parts restored. The show used an identical format to Saturday Club, with prerecorded sessions and records played into a live broadcast presided over by Alan Freeman, thus the comment about Can't Buy Me Love being number one in the charts. The theme song is a new recording, not the one from the first special. These are exceptionally good performances, every one of them of releasable quality. As Alan Freeman notes, it was extraordinary that they could get these together so quickly. Tomorrow: more fun with Fluff, and Bernie and Brian get to launch their new programme Top Gear, which would point British pop radio in a new direction. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2FCJRsDod7OI
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Post by Bobber on Feb 8, 2015 20:01:25 GMT
The Beatles are the undisputed kingpins of the pop world by now, and the Beeb has to fight for their spare time just like everyone else. But they remain committed to Saturday Club, the programme they grew up with as teenagers, and in March turn in a very interesting session indeed. This rendition of Everybody's Trying To Be My Baby is so totally different to the one put down for Pop Go The Beatles a year earlier, and really highlights the shift in The Beatles' sound away from flat-out dance hall music to a more laid back style. Paul's bass really pumps and George's newly acquired twelve string Rickenbacker gives this song and the others on this session a really unique sound. John performs the only other known rendition of I Call Your Name but doesn't seem quite sure of the words. He makes up for it in full with a screaming version of I Got A Woman, once again so totally different to the Pop Go The Beatles version. This shows that The Beatles took these sessions seriously - they must have found time to rearrange it in a different style since it's unlikely they'd performed it since their previous recording. This track like several others has double tracked vocals, a technique they were virtually addicted to by now. Sure To Fall was obviously one of their favourite songs, and here features for the first time the same "ska" reggae beat in the middle section that they'd recently used on I Call Your Name. Long Tall Sally has changed from the fast version with a skip drum beat that they did all through 1963 to a four-in-the-bar treatment they would keep from now on. Evidence once again that The Beatles didn't just pump out the same old sounds over and over like some critics claimed. They were constantly reinventing themselves. The third From Us To You is another interesting session, with four numbers that had not yet appeared on record. I Forgot To Remember is a rare gem indeed for 1964, with George showing an increasing fondness for country guitar sounds. Honey Don't is still sung by John, although by now it incorporates Carl Perkins' walking lead guitar part that was missing from their previous rendition. And Ringo turns in one of his rare BBC vocals on Matchbox, sounding particularly eager. Top Gear was the first of a new generation of "with it" pop programmes that dispensed with the jazz and middle of the road and concentrated on live sessions with a rock flavour. Unlike Saturday Club, it was on late at night after the kiddies had gone to bed and was squarely aimed at a more mature teenage audience. The Beatles appeared on the debut show and turned in a great session, with interesting electrified versions of And I Love Her and If I Fell. A Hard Day's Night was for some reason edited to incorporate the solo from the actual record. Why exactly this was done has never been satisfactorily explained. This edition was excerpted in part in the debut edition of "Top Of The Pops" - not the tv show of the same name but a special series created by the BBC Transcription Service. The one hour radio show was hosted by Brian Matthew and contained only live BBC sessions, which were pressed onto disc and circulated across the globe. Running to literally hundreds of editions, it would preserve for posterity many of these valuable sessions throughout the sixties and beyond. A copy of the Top Gear broadcast was also kept by producer Bernie Andrews, which accounts for the existence of the remaining tracks. Finally there is an extract from the recording session for the final From Us To You. How exactly this survives is unknown, but perhaps a copy was kept by one of the studio staff. Sadly very little material of this sort seems to exist. Track 47 provides a glimpse into the Light Programme's habit of playing random BBC sessions after midnight. Since these were never logged there is no way of knowing what was played, but it's not hard to imagine that some Beatles sessions got another airing. Around this time Pop Go The Beatles was also revived for airing on the General Overseas Service (aka BBC World Service), although the guests artists were discarded and new links recorded. Only episodes 11-15 of the original PGTB series were mined (the rest had probably already been erased); two more runs under the same title would follow with material mined from Top Gear, Saturday Club and Ticket To Ride. Frustratingly, since the GOS transmitted from London using tape rather than disc, they would appear not to have survived. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2F6wrCyLjsmxNote: this zip also includes a patch for the BBC Beatles Night (Paul's intro for Money) plus typo-corrected versions of a handful of covers.
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Post by Bobber on Feb 8, 2015 20:02:41 GMT
The music sessions are starting to wind down now. We have the fourth and final From Us To You, which has a couple of notable rarities in the form of I'm Happy Just To Dance With You and I Should Have Known Better. The former has an amusing gender bending slip up by George, while the latter highlights John's occasional harmonica playing. Also included is Cilla's BBC version of the Lennon-McCartney number It's For You, with an interesting use of harmonium. George continues to use his new 12 string Rickenbacker as he did for most sessions around this time. The second and last Top Gear session is a particularly good one, with some classy performances equal to and perhaps even surpassing the EMI versions. This show also features plenty of witty banter and was mined almost in full (topical and local references were removed) for several editions of the Top Of The Pops radio series. The version of Honey Don't presented here is the Transcription Services edit; the full (poorer quality) version is included as an extra (track 41). Interestingly, four of the Top Gear recordings also found their way into Saturday Club a month later. Perhaps this isn't surprising given that the same team made both programmes, but it is disappointing that they didn't record these numbers again. However there is more great chat to make up for it. Like Top Gear, this final Saturday Club was also plundered for Top Of The Pops. The live Pop Inn interview only exists because it was taped and kept by the producer. Keith Fordyce also presented the TV show Ready Steady Go and so was well acquainted with The Beatles. Here they chat from the set of Help! and throw in an amusing improvised version of the jazz standard Hold That Tiger (Tiger Rag). Finally we have some extracts from the second Top Gear recording session. I Feel Fine features the longest and most complete preamble yet, and reveals John having difficulty recreating the feedback noise at the start of the song. The take that follows is not the same as the one that they chose to overdub more vocals onto for the finished show. After that we hear some studio chat that preceded the finished take of She's A Woman, with Paul inciting the others to get it right. This session tape was found in the Transcription Services library in the late 80s, where it had been left over from the production of Top Of The Pops (Transcription Service preferred to work from session tapes rather than broadcast tapes). Another session tape still exists and was owned by Bernie Andrews up until shortly before his death in 2009. This tape contains takes of Honey Don't and I'll Follow The Sun, and a short excerpt of the latter song is featured here from a copy that turned up at auction (complete with a pretty dodgy cover story). The very first track appears to be an out-take from either the 17th or 25th November sessions. This was included as a teaser at the start of one of the Top Of The Pops radio episodes. www.dereferer.org/?http%3A%2F%2Fwe%2Etl%2Faof6gYMAMUTomorrow: The Beatles invite you to take a ticket to ride, with The Hollies and other guests.
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