|Tuned To A Natural E - Front Cover||Tuned To A Natural E - Back Cover|
|Catalogue No.||BFB 58|
|Total Time||CD's total: 8 hours 50 minutes 42 seconds
(from the sleeve)
This box set pulls together the complete "Tuned To A Natural E" collection as at 2009.
(a new volume - volume 7 - appeared in February 2012 and is listed below)
A collection of remixed, reworked, re-imagined and re-invented Beatle songs.
Much like the Martins did for the "Love" show, these tracks were all created from the original Beatle recordings (official and booted) by members of the Beatles Remixers Group, although, this project launched in 2003 sometime before Love was brought to the stage.
These mixes are simply flights of fancy, lovingly assembled by a small group of fans who respect the work of The Beatles and George Martin.
This set comes in a nicely produced box containing SEVEN remixed cds plus TWO dvds.
The seven c.d.'s are actually SIX volumes of releases, the sixth originally being a "double c.d." of remixes and mashups.
The first dvd is entitled "Together For Love 2007" and features all the newsreel footage surrounding the launch of the Love show
including the Larry King Live feature, interviews with Paul, Ringo, Yoko and Olivia, rehearsals for the show, An Electronic Press Kit
and some other Love-based TV specials from around the world.
My Comments :
I reckon that one could create one fantastic c.d. from the seven in this set ..... but then it might be a case of what the hell to leave out !?
Disc running time: 79:51
|Tuned To A Natural E - Volume 1 Artwork|
|1||It Won't Be Long (Yeah)||Mono
An instrumental sample, with a few "yeahs" of Paul, without John and an odd ending.
A strange and rather pointless little opener.
|2||Love Me Do||Stereo
Three tracks in the collection were created by Mirror Spock, who is quoted:
"I invented an experimental new technique for making stereo from mono; stereo-ized versions of songs for which there are only mono masters and no mutitracks."
It's actually a good strong sounding full version using the Pete Best version of Love Me Do.
|3||Komm Gib Mir Deine Hand||Stereo
The stereo backing track from Anthology 5.1 sync'd with the German version vocal track.
|4||P.S. I Love You||Stereo
Another experimental remix from Mirror Spock.
Made by separating frequency components to generate a stereo template.
|5||She Loves You||Stereo
A tour-de-force of syncing to create a stereo mix.
The original version and "Sie Liebt Dich" were the sources.
|6||I'll Get You||Stereo
The last of 3 Mirror Spock tracks.
The alternate version employed was the BBC track of I'll Get You.
|7||I Wanna Hold Your Mix||Stereo
A bizarre scissor and sticky tape mix replacing most of the words from the original track with bits lifted from dozens of other Beatles recordings.
Obviously someone with too much time on their hands.
Lots of work, but ultimately pointless as this is so hard to listen to.
Another bizarre mix.
The opening chord of "A Hard Day's Night" rings throughout like a bell to create a contemporary trance mix of various Beatles sounds.
Another one to skip.
|9||Things We Said Today||Stereo
Sourced from the Anthology extractions. This mix combines OOPS of the FL & FR channels with a blended mix of the SL & SR channels.
First off the vocal almost disappears into the ether, but after 40 seconds you're treated to McCartney's beguiling contra-harmony.
Interesting, but just the once.
("OOPS" = Out Of Phase Stereo)
|10||Leave My Kitten Alone||Stereo
Another Anthology extraction. this is simply the FL & FR channels combined to make a stereo instrumental track.
The vocal can be heard faintly.
Frankly a waste of time again.
|11||Rock And Roll Music||Stereo
This track uses the Anthology isolations filled out and completed with bits flown in from the cover version to create a "Naked" version.
|12||You're Gonna Lose That Girl||Stereo
Manipulating the Anthology extractions to eliminate the piano and bongos.
The vocal is left isolated too much upfront.
Another pointless result.
|13||I'm Looking Through You||Mono
Track is manipulated to greatly reduce the ambient vocals.
Another pointless instrumental mix with very faint vocal.
Elimination of the vocals by putting the track through the karaoke filter then OOPSing the result.
Yet another pointless instrumental mix.
|15||If I Needed Someone||Mono
This is the instrumental backing brought forward ... again.
There's a pattern developing here ... a pointless instrumental mix with very faint vocal.
A stripped down effort leaving lead and backing vocals accompanied only by the bass guitar and tambourine.
Another empty pointless result.
The FL & FR channels from Kaleidoscope
Another pointless hollow instrumental mix with very faint vocal, although the fade-out vocal can be heard very clearly.
|18||Best Of Ringo (Drum Mix)||Stereo
Another scissor and sticky tape mix made almost entirely of Ringo drum fills just lifted from here, there and everywhere.
Using the two 'one-channels stereo' mixes from "Revolver Rains Again", selected passages were reversed on the isolated vocal tracks then recombined.
|20||Beatle Trance (Rain Mix)||Mono
Using Rain from "Past Masters" version, a cut & paste mainly instrumental version
|21||Tomorrow Never Knows||Stereo
This version allegedly reverses most of the backwards elements of the song including guitar solos.
Ends up sounding pretty similar to the final mix.
|22||Magical Mystery Tour||Stereo
A percussion heavy drums-and-guitar mix
Another instrumental mix with faint vocals.
|23||I Am The Walrus||Stereo
OOPSing the FL & FR channels and the SL & SR channels from "Five Point Wonderful" creates this orchestral mix of the song.
Another fairly pointless instrumental mix with very faint vocal.
This mix reduces the woodwinds and emphasizes the piano, drums and brass accents
An OOPS of the FL & FR channels of the opening bit to "Happiness Is A Warm Gun" from "Five Point Wonderful"
This OOPS'ed version brings forward McCartney's precious vocalized bass line
|27||Old Brown Shoe||Mono
An OOPS'ed version of the demo on Anthology 3 emphasizing George's double tracked guitar parts
|28||I Am The Walrus||Stereo
Down and dirty with drums and vocals, this is the counterpart of the orchestral presented earlier. Main body is the Anthology version, but full bits and pieces from Five Point Wonderful and an mp3 of the King Lear radio transmission.
|29||Evolution Take 5||Mono
A "Remixers" version of "Revolution 9". A mish mash of backwards Beatles music and forward speech taken mostly from the "Think For Yourself" rehearsal
|30||I Me Mine||Stereo
A sweet blend of two OOPS'ed versions. It's the oopsed of the "Let it Be.. Naked" and "Let it Be" versions synced together
|31||Tuned To A Natural E||Stereo
A short mix of one line from Baby You're A Rich Man and one word from Act Naturally
|32||All My Loving||Stereo
A horrible blend of the Beatles and The Chipmunks synced together.
A short section of the outro fade-out "hey-la"'s with bass.
Disc running time: 68:58
|Tuned To A Natural E - Volume 2 Artwork|
|1||I Saw Her Standing There||Stereo
Vocal centred version
This was created from the Studio 2 Sessions bootleg.
Take 1 - pitch-corrected - added sample of unaccompanied clapping from Take 11.
Paul's "1-2-3-4" from Take 9.
The bass was EQ'd to the centre and a bit of stereo reverb added to each track.
Rhythm section is centred and mixed a bit louder than the vocals.
|3||Hold Me Tight||Stereo
A manually edited version:
Paul's vocals isolated on one track, then John and George's backing vocal on another,
The instrumental track was separated and delayed by a fraction of a second to create a stereo effect.
Then the vocals were mixed back in to create a call-and-answer stereo image.
|4||Long Tall Sally||Stereo
The left side of the OOPS'd FL and FR channels of "Five Point Wonderful" were panned hard left.
The centre channel was panned hard right.
No piano overdubs and no vocal echo leave it sounding raw.
|5||I Should Have Known Better||Stereo
John's vocal mixed with the orchestral version from the U.S. Hard Day's Night album.
Mixed from the MFSL stereo version and the Anthology track.
Introduction and end from Anthology, and other parts are sampled in.
In the right channel is the stereo version OOPS'd,
the left channel contains just the normal left channel.
A combination of volume skewing and OOPSing, leaving clean single-tracked vocals and missing instruments.
A clean "well, well, well, you're feeling fine" lets the vocal arrangent be heard clearly.
|8||And You Bird Can Sing||Stereo
Vocals, percussion and a guitar fill from Revolver mixed
with the backing vocals, bass, rhythm track and lead guitars from Anthology DVD 5.1 mix
|9||I Want To Tell You||Mono
Piano part removed and gaps replaced with guitar
|10||I'm Only Sleeping||Stereo
Backwards guitar samples added throughout the track, and in depth at the end.
Vocals and sound effects well to the fore.
|12||Only A Northern Song||Stereo
Vocal, bass and drum to the fore from "Five Point Wonderful".
End part is original vocals from Yellow Submarine and the Songtrack versions stripped with one to the left, one to the right.
|13||Strawberry Fields Suite||Stereo
A long mix of sections from different takes.
|14||Hey Strawberry Bulldog||Stereo
Almost continues from last track ! ....
The end of the Anthology version looped, then superimposed over some Bulldog vocals.
Samples from both tracks then added to the above.
|15||Noticed I Was Late||
The ending has a left channel isolation of the same part edited in.
|16||Your Mother Should Know||Stereo
Vocal and sparse instrumentation.
Guitar loop from Here Comes The Sun with vocal samples.
Mother Nature's Son guitar track is the background,
Pitch-changed vocals and bird sounds from Blackbird, plus horn and guitar samples from MNS.
1:30 of instrumental plus "Dear" sample, followed by mostly vocal version.
Vocal, piano and drums mix.
Starts with the Esher outtake as a false start.
Then combines Revolution 1 with the heavier single version, plus some added Revolution No.9 and Revolution 1 outtakes.
A quick and dirty mix from the Legend DVD with the vocal track isolated and echoey.
|23||Smile Away (Horn Mix)||Stereo
A tempo and pitch matched version combining the Thrillington version with the Ram original.
Disc running time: 78:35
|Tuned To A Natural E - Volume 3 Artwork|
A mash-up of McCartney's recent Fine Line and The Beatles Lady Madonna
Central channel of Lady Madonna from Five Point Wonderful, pitch and tempo adjusted, chopped up and laid over the left and right isolated channels of Fine Line.
|2||Ain't She Standing There||Mono
I Saw Her Standing There instrumentation with Ain't She Sweet altered vocals.
An organ-less version of the song.
Lennon's lead vocal from the released version mixed with the take of August 14th 1964 on Anthology 1.
The backing vocals from both versions are split left and right giving a double-tracked effect.
The harmonies have been isolated and moved to one side, with Paul's vocal on the other.
The piano is removed from the mix to bring up the rhythm section, particularly John's guitar.
|6||You've Got To Hide Your Love Away||Stereo
A guitar loop from Two Of Us, then a drum loop from Sgt. Pepper's
some indian samples, plus John's vocal.
|7||We Can Work It Out||Stereo
Vocal and harmonium version.
Isolated right channel of Paul's second vocal and John's second keyboard overdubs, with the backing removed.
The middle eight is the first vocal and keyboard overdubs.
Take 2 of 12-Bar Original with some sampled vocals and other assorted sounds.
|9||I've Just Seen A Face||Stereo
Maracas looped in places with the middle eight left as a rhythm part (with maracas)
John's vocal isolated and sparsely mixed with the instrumental track.
Backing vocals brought to the fore along with just a few "Paperback"'s.
|11||Love You To||Stereo
Yellow Sub Songtrack mix has guitar and bass brought out with clearer second sitar part.
|12||I'm Only Sleeping||Stereo
John's final vocal mixed over the Anthology instrumental.
|13||Here, There And Everywhere||Stereo
Second vocal removed and the ADT effect leaving a bared down version.
An elongated version with dialogue and sound effects added to fill it out.
|15||For No One||Mono
A mostly instrumental version.
|16||The Void Never Knows||Mono
Vocal track from final version over John's original "Void" backing track
|17||Across The Universe||Stereo
A combination of the Let It Be Naked version with the original fast Spector version.
|18||When I'm Sixty-Four||Stereo
Vocal and sparse instrumentation.
Meant to be a "reconstruction of the SI onto Take 2"
|19||Happiness Is A Warm Gun||Stereo
All versions mixed together.
The rear left and right channels of the 5.1 DVD mix used to highlight George Martin's string arrangment.
The intro and fade were then restored using the final mix.
Isn't It A Pity and Hey Jude sync'd together.
|22||The End (Megamix)||Stereo
The tour de force of this whole collection.
A thumping bass drum loop from The End with all phases of the Beatles career sampled in over the drum parts.
Disc running time: 78:44
|Tuned To A Natural E - Volume 4 Artwork|
|1||From Me To You||Stereo Remix
The original single was Take 7 with overdubs, this remix includes excerpts from Takes 1, 2, and 4, with edit piece 6 take 13, plus the harmonica overdubs and the vocal harmonizing from track 2 take 8. The speed is a little slower than the released version.
|2||I Long To Hold Tall Tally||Mono
Instrumental track of I Want To Hold Your Hand plus Paul's vocal from Long Tall Sally.
IF I Fell is brought in as the first chorus "Holding Hands".
And I Love Her features as the second chorus.
|3||I'm A Loser||Stereo
Mixed with the Hollyridge Strings as a backing track.
One to skip.
|4||I'm Looking Through You||Stereo
An alternate remix with the two vocal tracks split and panned to the sides, revealing a second Ringo organ part (?)
|5||A Fly On The Wall '65||Stereo
The idea was to find yourself actually witnessing a Beatles recording session.
Dialogue and practicing from the "Think For Yourself" session, plus the guitar part towards the end is "If I Needed Someone" backwards.
Seems totally out of place in context of the rest of the set.
Guitar parts mixed in a different order. The first three "Girl" choruses are taken from "Run For Your Life", the fourth from "Boys".
The "tit tit" part was pitch adjusted to fit.
|7||Tomorrow Never Knoise||Stereo
Background loops were an attempt to loop and remove the tamboura drone from the centre channel.
Different, but not repeatable.
|8||Sgt. Pepper's Lonely Hearts Club Band||Stereo
Mixed with The Hollyridge Strings ......
No. No. no.
|9||With A Little Help From My Friends||Stereo
A different mix by OOPSing the Sgt. Pepper version in the left and the Yellow Submarine Songtrack version to the right. This highlights the bass, the piano and the stereo harmonies.
An odd repetitive instrumental piece including Paul's bass guitar part which was originally recorded at half-speed - here it is back to original speed and looped and extended.
|11||A Day In The Life||Stereo
Combines a bare early take with Paul's middle exerpt replaced with Lennon's "Remember", followed by a later mix.
Sgt. Pepper appears briefly in the fade.
|12||Flying Time Is Here Again||Mono (mostly)
Christmas Time Is Here Again vocal over Flying which is pitch adjusted up.
Ends with John's Rabbie Burns reading.
|13||Blue Jay Way||Strange stripped down version with heavily Indian verses (backing by Lord Sitar),
then a faster, almost Chiffons sounding beat in the chorus !
Dialogue at the end is George commenting on Lord Sitar extracted from "The Little Girl Tapes"
|14||More Love||A montage rather than a mix with parts that work well, but not as a whole.
Includes, Please Mr. Postman, All I've Got To Do, Tell Me What You See, All You Need Is Love and Golden Slumbers.
Vocals from Michelle, Ask Me Why, I'm Happy Just To Dance With You and Boys.
The final words are from the Help film.
|15||Aerial Tour Instrumental||Paul's Kreen-Akrore drums, mixed with Flying.
Ends with Jazzy version that turns into 40's sound with Lady Madonna backing mixed-in and some bits from Yellow Submarine.
|16||Lady Bulldog||Hey Bulldog and Lady Madonna mixed together.||3:08|
|17||Hey Sun King||Hey Jude vocal over Sun King||4:22|
|18||Revolution||Promo "Shoo-be-doo-wah" version of Revolution, along with the Love isolated guitar||3:23|
|19||Get George Back||A George vocal for Get Back
Also featuring the rooftop count-in, double-tracked guitar solo by John and Billy Preston keyboard solo.
Scrappy mix of Let It Be outtakes.
|20||A Case Of The Blues||Lennon demo and Get Back sessions version mixed with added instrumentation -
A drum sample from Glass Onion.
|21||Real Love||Almost an early mix of the recent remix.
Created from Purple Chick's "Meet The Threetles" track, some OOPSing, some volume balancing and speed correction.
|22||Pepperland Time||Paul's Return To Pepperland mixed with John's Clean-Up Time and some Submarine samples.||3:40|
|23||Me And My Montage||A great closer comprising probably their entire catalog of songs into one long (12 minute) track.
Approximately 215 clips, mostly from official releases, but some odd bootleged outtakes.
This mix was almost a year and a half in the making - started in May 2004 and completed in October 2005.
Disc running time: 78:36
|Tuned To A Natural E - Volume 5 Artwork|
|1||Tuned To A Natural E Reprise||Stereo
Baby You're A Rich Man base with extra piano parts from the Yellow Submarine Songtrack
|2||Bad To Me||Stereo
The George Martin produced music from the Billy J. Kramer version with John's demo version over it.
Kept nice and simple, this is good to hear.
A created instrumental version plus screams from John and Paul.
Repetitive and a tad pointless.
Takes 1 and 2 of the backing track with vocals on top.
Ended with live Tokyo 1966 final chord and screams.
Not too way off from a legitimate early mix - so again, a non-essential.
|5||The Night Before||Stereo
Assembled from the Help surroundsound with intro and final chord from official cd.
Hear the song in greater detail and you can actually notice Paul running out of breath in parts.
|6||That Bulldog Better Leave My Kitten Alone||Stereo
Vocals from Hey Bulldog, loops of Leave My Kitten Alone, plus animal noises from Good Morning, Good Morning.
Good fun - and what these mashups are all about.
|7||Think For Yourself||Stereo
Remixed: from the right channel where the fuzz bass is, the highs were extracted to get Tambourine and maracas.
From the left channel, low frequencies were taken to make another bass track, plus high frequencies to give the guitar a more upfront sound.
Comes over like an early take.
|8||Tax My Car||Mono
Album openers "Taxman" and "Drive My Car" are both mid-tempo rockers in the key of D, and they are strikingly similar in style. Putting them together required some tempo adjustment and a bit of editing.
Adding in the cowbell loop through the non-vocal parts gave the track continuity.
Another interesting mix.
|9||Got To Get You Into My Life||Stereo
Completely chopped up into a new song almost.
"The original idea was to have a version that featured guitars all the way through, but it sort of took on a life of its own after the guitar samples were added."
A confusing effort.
|10||She's Leaving Yesterday||Stereo
The strings backing had to be pitch-matched to the vocals, then the vocals were edited in phrase by phrase, sometimes stretched to fill gaps. The Sgt. Pepper guitar solo was a bit of lunacy born of necessity, as something was needed in the space between the second verse and chorus.
Just sounds a bit too forced to work - but it does.
|11||Sgt. Pepper's Lonely Hearts Club Band||Stereo
Using the multi-track elements that have been made available, A mixed version of the song that focuses primarily on that smokin' basic track.
Not too dissimilar to the actual release, sounds just EQ'd differently.
|12||With A Little Help From My Friends||Mostly Mono
Another case of using the multi-tracks. This one is a bit more aggressive, separating the vocals and sometimes not using them at all. John and Paul's background harmonies work well and have been highlighted throughout.
|13||Strawberry Fields Forever||Stereo
A mix trying to demonstarte what it would sound like to have both sections of the song playing simultaneously all the way through.
The take 6 backing, edited to match the original, with the orchestra edited in from the right channel of take 25. Vocals are mostly from take 6 with a chorus from take 4 and a verse and harmonies from take 1.
|14||Strawburied Fields Fornever||Stereo
A wack track made up from elements at the ends of various SFF takes, the main part being a loop of the piano riff at the end of take 26.
Almost like a Lennon experimental outtake.
|15||I Am The Walrus||Stereo
This mix blends George Martin's and Lord Sitar's instrumental versions of the song with John's vocal.
Also mixed in is the 1935 song "Umpa Umpa" by The Two Leslies which John borrowed for his outro.
Far too much sitar which overpowers an excellent production.
A pared down version, George Martin's orchestra is all but removed and instead of the orchestral middle eight a surprise appearance of John's "How".
|17||Here Comes The Sun||Stereo
This mix emphasizes the wonderful score by Sir George Martin.
|18||I Me Mine||Mono
A remix primarily including the "Naked" version and the end of the Spectorized one.
An acoustic feel to the verses and an OOPSed first bridge.
The second bridge highlights the solo with a fuller sound.
To create an extended ending, both channels of the Spectorized version were overdubbed to introduce the orchestra to get a more dramatic feel.
|19||Maybe I'm Amazed||Stereo
This mix uses the isolated surround channels taken from "The McCartney Years" DVD.
A rawer more basic mix mostly leaving out the organ and leaving it as if a 4-piece band were performing it.
When Paul isn't singing you can hear him humming and vamping along.
|20||I Don't Wanna Do It||Stereo
George's demo version of this 1970 track remixed with some sounds from the end at the beginning.
A drum track taken from "With A Little Help From My Friends" and some tambourine were sync'd in.
A stripped remix of Real Love taken from the Anthology 5.1 isolations.
John's vocal is stripped out leaving the new backing track clearly and you can hear some previously hidden harmonies.
|22||Only Pepper Weeps||Stereo
A mini-mix, using the Sgt. Pepper beats as a backdrop.
Looped in is the guitar figure from George's "While My Guitar Gently Weeps" ("Love" version) time stretched to fit the beat.
John's vocal from "It's Only Love" was altered to fit the rhythm.
Also added are Paul's vocal, some guitar from "Pepper" with echo and delay and various samples over the Pepper beats.
4 minutes in a tempo change to include Ringo and With A Little Help From My Friends.
Followed by Magical Mystery Tour, Strawberry Fields, Inner Light, All You Need Is Love, Flying and I Want To Hold Your Hand
|23||At The Mercy||Stereo
Buried at the back of Paul's song is a short riff which is utilised in this pointless instrumental rehash.
|24||Barber Of Seville||Stereo
From the Help soundtrack, after 5 seconds of silence this unlisted track appears.
Disc running time: 71:40
|Tuned To A Natural E - Volume 6 Artwork
(Volume 6 was actually split into two discs "Remixes" and "Mashups")
|1||Intro||Brief snatch of an interview with Berend Boudewijn (Dutch TV presenter) in the Dutch Treslong TV studios with three words sampled cleverly from somewhere.||0:07|
|2||I Want To Hold Jimmy's Hand||Preceded by the Dutch interviewer talking to Jimmy Nicol.
Live performance trying to highlight the changed drummer.
Drums and bass boosted from the live feed, vocals and lead guitars from the released version.
|3||This Boy||Mixed with George Martin's orchestral version from the film soundtrack.
The key change middle eight vocals are omitted as the voices would have to picth adjusted too high.
|4||Baby's In Black||Live at Hollywood Bowl.
The live performance backing track with the released version's vocals.
The live version is much slower and even with a lot of tempo adjusting and synching, there are moments when the sync is slightly out.
|5||Do You Want To Know A Secret ?||Mixed with Santo & Johnny's instrumental.
The guitar following the vocal is Horrible.
One to skip.
|6||That Means A Lot||Two partial takes of the faster version combined to one complete song.
Takes 20 and 24.
|7||You Won't See Me||Instrumental version with lead vocal mixed down really quietly.
Meant to highlight Mal's organ(?) and two pianos .... but ....
|8||We Can Work It Out||The basic track of Take 1 with Paul's 2nd vocal version and the harmonium overdub.||2:16|
|9||I Need You||Stripped right down, most backing removed leaving George's first vocal crystal clear over an acoustic version||2:29|
|10||In My Life||John's vocal mixed over Keith Moon's version.
Also added were George Martin's string arrangement from Grow Old With Me and the solo from George Martin's "In My Life" c.d.
|11||A Day In The Life||From the multi-tracks the unused piano intro, John's vocal and the track four bass and drum.
The remixer added the spooky chorus and lower volume excerpts of the orchestra.
The end sequence is the discarded "hum ending".
|12||The Fool On The Hill||Vocals from Take 4 from anthology in the centre of the mix.
Left and right is the regular version as a backing track.
Unfortunate percussion though on Take 4.
|13||Baby, You're A Rich Man||A stripped down version.
Right channel from Yellow Sub Songtrack with backing vocals and piano, mixed with the lead vocals from the 5.1 mix and the clavioline overdub.
|14||Revolution||Dressed down version stripping out Lennon's heavy fuzz guitar.
Vocal is far more direct and other backing and instrumentation is very clear.
This was made from the 5.1 separations from the "Love" c.d., although the ending is from the standard release.
|15||For You Blue||The mono mix of the live take from the Barrett tapes made stereo by adding
the left and right of Glyn John's first Get Back acetate.
Just sounds like a Let It Be live more acoustic early take.
|16||Free As A Bird||A stripped down mix of the released version.
From the Anthology 5.1 version this contains only the vocals, piano, drums, bass and acoustic guitars.
Vocals come over very very clear as does Paul's bass line.
|17||I Dig Love||A remix containg the left channel of the acetate and right and centre of the official version.
A lot of tape hiss on this version but it does emphasise the guitars, mistakes and all.
|18||Hi Hi Hi||Stripped down version from the McCartney Years 5.1 DVD focusing on the centre channel vocal track.
This highlights bass, drum, and vocal and no lead guitars.
|19||Instant Karma||Another stripped down version emphasizing the vocal line.
Created from the 5.1 mix on the Imagine DVD. John's vocal is raw with no echo on the centre channel.
|20||Helen Wheels||Another stripped down version from the McCartney Years 5.1 DVD removing the moog and emphasizing bass and vocal.||3:37|
|21||Art Of Dying||Centre channel of the released version mixed with the left and right from a Making Of All Things Must Pass take.||3:38|
|22||Whatever Gets You Through The Night||A lighter version, remixed from 3 different takes on the "Come On, Listen To Me" c.d.||3:25|
|23||Nineteen Hundred And Eighty-Five||Another stripped back version using the 5.1 Wingspan version eliminating most of the instrumental effects ... inexplicably going into Hard Day's Night at the end.||5:30|
Disc running time: 74:18
|Tuned To A Natural E - Volume 7 Artwork
(Volume 6 was actually split into two discs "Remixes" and "Mashups")
|1||Intro||A neat manipulation from the Let It Be sessions conversation:
George, "what tune are you going to play ?"
John, "E as in Tuned to an E naturally"
|2||Rock And Roll Birthday||Stereo
Rock and Roll Music vocal over Birthday backing track.
After the musical break, other Beatle classics start dropping in.
Punchy and enjoyable.
|3||Drive My What You're Doing Car||Drive My Car and What You're Doing interlaced.
|4||Good Day Sunshine Wacky||Stereo
Good Day Sunshine vocal over some bizarre reversed percussion.
One to forget
|5||Yellow Submarine||Ringo's vocal cleverly laid over George Martin's Yellow Submarine in Pepperland.
Chorus vocal is from Yellow Sub Songtrack.
|6||You're A Lonely Hearts Club Man||Stereo
Sgt. Pepper's backing track with Baby You're A Rich Man vocal fitting over the top.
|7||Fixing To Get Better||Stereo
Getting Better and Fixing A Hole interlaced.
Some very clever bits, but some repetitive ideas that don't quite work in-between.
|8||Being For The Benefit Of Mr. Kite||Stereo
A mix of Take 7 along with George Martin's "cover" on his In My Life c.d.
Quite similar to the released version, but bigger, brasher sound effect sequences in between the verses.
Billy Connelly features at the end (from George Martin's "In My Life")
|9||Carnival Of Lights||Stereo
A Revolution No.9 pastiche as if McCartney had done his own version.
Includes snippets of McCartney music and chat from such pieces as, "A Leaf", Good King Wenceslas", "Pure Trance", "Strawberries Oceans Ships Forest", "Yesterday", "Lovers In A Dream", "Ob-La-Di Ob-La-Da", "My Carnival", "Hold Me Tight", "Interlude (Lament)", "Sexual Ealing", "When I'm 64", "Can You Take Me Back" ... plus others.
No "Number 9", but does include a voice saying the number .....10,022
McCartney's cockney Hey Jude.
And much else. Just like Revolution 9 - it won't be on repeat play on your turntable.
All Together Now loop with Sgt.Pepper vocal
Then the two interlaced.
Very cleverly picked out to combine certain sections, but .....
Video 1 and Anthology VHS mixes synced together to create a stereo version.
|12||Across The Universe||Stereo
The best two fast takes of the Get Back sessions takes pieced together, then Phil Spector strings on the right and John's guitar and vocal from the released version on the left
|13||Revolution 1 - Ultimate Mix||Started with the "Take Your Knickers Off" mix, then synced with the overdubs from the left and right channels of the released version. Next, "Revolution 9" was added in the background ensuring John's ad-libs in it were matched to the same ad-libs in the "Knickers" version.||10:21|
|14||I Wanna Be Mr. Man||Stereo
Mean Mr. Mustard backing track with Ringo singing I Wanna Be Your Man over the top.
|15||Let Imagine Be||Stereo
Imagine and Let It Be pianos, then Paul singing Let It Be.
Let It Be is sourced from Anthology, Imagine is from Lennon Legend DVD.
Clever, but ultimately cluttered.
|16||Beware Of Darkness||Strings and drum were extracted from the acoustic demo on Beware Of ABKCO.
Then the second half strings are from the Making Of All Things Must Pass - stereo-ized with a fake ADT that uses a low-high split along with a right channel delay. The solo and last verse are sync'd to the centre channel of the released version.
|17||Take Me To That Place
(Each Saturday Night)
|A mix comprised of the instrumental version of "P2 Vatican Blues" and vocals from Paul's "My Brave Face".||3:11|
|18||Women||John's Anthology demo of Woman with bass and backing vocal from the album version.
Some drums from Ringo from his "funny fills" demo on the Yellow Submarine radio show.
Plus, Paul's version of "Woman" from the Get Back sessions along with Peter and Gordon's .....
plus George Martin's orchestral version.
|19||Gone Are Tomorrow's Days||Extended start of Ringo's "Gone Are The Days", combined with drum beats from Tomorrow Never Knows and some of the drone. Mixed in is a blues song that Ringo performed off the cuff on the "Liverpool 8" EPK.||3:14|
|20||Lennon Recollections||Tomorrow Never Knows backing from "Lennon Diary", with classic Lennon quotes.
Then original Tomorrow Never Knows with many many samples, some backwards for a couple of minutes.
Next, many Lennon extracts and musical samples from all over his career.
It's a nice collage.
|21||The Very Thought Of You||Paul and Frank Sinatra duet.
Paul's vocal is from his and Tony Bennett's version (of course) mixed into a Sinatra classic.
Disc running time: 79:35
(actually, the download version came out over 80 minutes, but reducing the pause between tracks brought it down avoiding an over-burn)
|Tuned To A Natural E - Volume 7 Artwork
(The real Volume 7 - issued by the Beatles Remixers Group in February 2012)
|1||There's A Place||This track combines one rehearsal take (both backing and vocals) with vocals from another rehearsal take.||2:00|
|2||A Hard Days Night||The main feature of this mix is the double-tracked vocals are split clearly left and right.||2:24|
|3||Can't Buy Me Love||Mostly instrumental, with some backing vocals.
This is the original background vocal with George's original lead guitar attempt in the middle eight.
|4||HELP!||Help vocals over a Mariachi latin rythym.
The Beatle vocals are from the 2009 remaster, the instrumentation is from "The Beatles Mariachillout Vol.1"
|5||Eight Days A Week||Guitar intro is from an early rehearsal take, then it's the Anthology version with handclaps and some vocals from the final version.||2:45|
|6||It's Only Love||Released version vocals over the George Martin Orchestra backing track.
The George Martin version was one verse longer, so the second verse has been included twice.
|7||Michelle||Final version intro and vocals, backing is from George Martin's 1966 album, "Beatle Girls".||2:50|
|8||And Your Bird Can Sing||Count-in, into an instrumental.
Simply the original basic track of drums, bass and rhythm guitar.
|9||For No One In My Life||In My Life and For No One mixed together.
As this started I thought, "what !! ... no !!" ... but, it actually progressed nicely.
|10||Eleanor Rigby||Vocal over pan pipes version.
Beatle vocal over Argentinean version by the group "La Fragua"
|11||For No One||Paul's vocal over the "Give My Regards To Broad Street" strings backing.||2:12|
|12||Hello On The Wireless Machine||Instrumental Hello Goodbye||0:56|
|13||Hello Goodbye||Reduction mix, taking down the keyboards.||3:24|
|14||Strawberry Fields Forever||A mix between some 5.1 isolations from Anthology and a 1990 version of a band from Buffalo called "Them Jazzbeards"||2:57|
|15||Cry Baby Cry||Cry Baby Cry with Can You Take Me Back chorus
Which cleverly reverses at the end !
|16||Here Comes The Sun||This version includes the forgotten solo isolated from the Living In The Material World DVD
The strings were also brought up in the mix slightly.
|17||Because||One layer of voices extracted from the Love DVD (instead of the usual three layers) and placed on the right channel.
Paul's bass and regular sounds are at a lower volume on the left.
|18||Nowhere To Go||An attempt to make a full song out of the "Nowhere to go" portion of "You Never Give Me Your Money".
The bells served as a starting point and were used in the reprise thus avoiding the guitar ending.
|19||Don't Let The King Down||Ringo's percussion (bongos and a tambourine) from Sun King plus some of the organ, then added vocals from Don't Let Me Down||2:32|
|20||Rita Got A Helter Skelter Feeling||The riff from Polythene Pam mixed with the vocals from Lovely Rita with vocal segments from Helter Skelter and I've Got A Feeling.
Also some music from "She Came In Through The Bathroom Window" at the end.
|21||The End Minimix||A short track scrambling the order of the guitar solos and panning them in stereo.||1:17|
|22||It's Johnny's Birthday||Taken from All Things Must Pass, this has been pitch and speed corrected and Ringo's singing brought out in the mix.||1:14|
|23||Happy Christmas||Using a rough mix of the track a small part was added from the demo version.
Also the start from Yoko's "Listen The Snow Is Falling" is used, but minus the children's choir.
This mix used tracks from "The Making of All Things Must Pass", synced with an oopsed isolated channel from the issued version.
|25||Band On The Run||Remixed so the first section only has vocal and organ.
For the middle section the bass track has a starring role.
Organ added near the end.
|26||Sea Ditty||The drum track is Octopus's Garden sped up quite a bit, the "oooh's" and "ah's" are also from OG
The organ is from the While My Guitar mogg, the guitar bits are from the end of Oh Darling, the little off-key moog thing is from Maxwell
The horns are from Revolution 1, and the bvs in the break (where the piano stops) are from Because.
John's home tape of "Sea Ditty" is the vocal mixed over the top.
|27||Mama You've Been On My Mind||George Harrison's demo is mixed with a Dylan acetate.
The Dylan solo verse had hardly any guitar, so George's acoustic was cut up to fill the blanks !
|28||My Love||A mix reducing the orchestration and bringing up Henry McCullough's guitar track
Also the tempo was raised slightly to liven it up.
|29||Bonus||Same as track 3 ?
Basic rhythm track of Can't Buy Me Love with drums, bass and rhythm guitar