Bare It All - Vols. 1 & 2

The Beatles
Bare It All - Vols. 1 & 2 - CD cover Bare It All - Vols. 1 & 2 - CD back
Bare It All - Vols. 1 & 2 - Front Cover Bare It All - Vols. 1 & 2 - Back Cover

Label MasterJedi
Catalogue No.   MJ1311-1/2
Release Date Early 2014
Total Time Disc 1 - 65:13
Disc 2 - 61:10
Comments: From the Sleeve
Represented here is a composite of 3 different transfers of "The John Barrett Tapes".
The majority of these come from "More Masters" and "True Masters" from Roaring Mouse.
These are supplemented with the master given to Vigotone, which was bit-identical to the Roaring Mouse releases, but
was edited differently, allowing restoration of numerous edits done to the Roaring Mouse versions.
Disc 1 has additionally been augmented with the "Abbey Road Tape" and "Down In Havana" from Unicorn,
which come from a more complete but higher generation source.

Collector Music Review Summary
In 1999 the floodgates once again opened with a great explosion of Beatles outtakes - a burst of activity not seen since the likes of
Yellow Dog's Unsurpassed Masters or The Swinging Pig's Ultra Rare Trax around 10 years earlier.
We are talking of the bootlegs known jointly as "The John Barrett Tapes" (Turn Me On Dead Man being a classic example).

For anyone still unaware of what happened there, a quick rundown:
The Barrett tapes were divided out between a few bootleggers.
Of the established names to be offered them were;
     Vigotone, Roaring Mouse, Unicorn and Strawberry Records (Yellow Dog or Rattlesnake under a pseudonym).
Each had their own theory as to how these tapes were to be presented.
Vigotone releasing around 5 CDs covering the main outtakes, Let It Be tapes and solo oddities while
Roaring Mouse diced their stash over 7 CDs then Unicorn got a few odds and ends and
Strawberry created 3 boxed sets and 4 singular CDs covering the rest with some additional substitution.

Each manufacturer got a lot of the same things BUT each set was also butchered - seconds missing here and there,
quality differing all over the place, and none of the bootleggers came out with the correct timings.
A nightmare for collectors as to which set to choose.
Let’s forget label loyalty, ideally we wanted the best quality and longest takes. And all of them together.

The John Barrett tapes were a grab bag for Beatles collectors, a monster that continues to feed our hobby,
specifically 2013’s Take It Off on the HMC label - which featured around 8 minutes
of new material that was dug up after the span of years.

Prior to that release, fully paid up member of the Beatles Fan Club and internet forum user, Masterjedi, put together a comprehensive set of the Barrett tapes. Masterjedi took Roaring Mouse’s sets (“More Masters” and “True Masters”) as a base, adding bit-parts from Vigotone’s various versions and also using the oddities from Unicorn’s “Down In Havana” CD, eschewing the material supplemented from the Roger Scott tapes that some labels added to make a slightly more cohesive whole.

Helpfully there was a full rundown posted on to the internet of where these tracks came from which we copy here: John Barrett Tapes - Cross Reference List
A cross reference list of the John Barrett tapes identifying the bootlegs on which they can be found !

Sitting through various different takes of one song and surgically repairing missing bits and pieces where they allow, this set must be tendered as one of the final words on the Barrett tapes (were it not for that aforementioned HMC release !) and thankfully it sticks true to his compilation ethos:
Disk one specifically, running haphazardly throughout the years from "She Loves You" through to "That Means A Lot" via psychedelic era Beatles on "Strawberry Fields Forever" to the middle-pop years of "Yes It Is" concluding at the jagged ends of their "White Album".

Disk two rounds up the less boring parts of the "Let It Be" sessions on one of the final non-Spector compilations of "Get Back" (finished by Glyn Johns the way it should have been) and tops them off with George’s demos recorded in 1969 on his birthday.
Although in awesome quality, it is almost identical to the earlier release: Get Back - Glyn Johns Final Compilation

For anyone new to these outtakes or considering completing their collections with them, this MasterJedi collection is essential as a solid set.

Apparently, the bootlegger who took this set from the internet (cheekily) kept the rather handsome covers that MasterJedi created.
And to paraphrase a well known song, All you need are these.

A rather basic double c.d. release with a few nice pictures and just the information seen on the scans above.

C.D. One (Tapes X1 to X8)

No Tracklisting Comments Time
X1 Tape - Tracks 1 & 2
1 She Loves You RS1 (2:20) - Geoff Emerick's First Stereo Remix from 8th November 1966 2:29
2 She Loves You RS2 Version 2 (2:20) - Geoff Emerick's Second Stereo Remix from 8th November 1966 2:27
X2 Tape - Track 3
3 This Boy RS15 (2:16) - Abbey Road Engineer, Peter Bown's stereo mix of 10th November 1966 2:41
X3 Tape - Tracks 4-6
4 That Means A Lot Take 20 Remake (0:49) & Take 22 (2:05) 3:24
5 That Means A Lot Take 23 (1:41) 2:10
6 That Means A Lot "Just a test" (0:43) 0:53
X1 Tape - Tracks 7 & 8
7 Strawberry Fields Forever RM3 of Take 7 (3:01) - Complete with count-in ! 3:25
8 Strawberry Fields Forever Take 26 RM9 (3:09)
A rough John Lennon single-tracked vocal over the "orchestral version" (take 26) for the first time.
All other mixes of this rendition which appeared before 1999 had been in stereo,
with no complete vocal existing on top of the track.
X5 Tape - Tracks 9-11
9 Penny Lane Take 9 RM8 (2:53)
Another exciting discovery back in 1999 - the complete "oboe" version of "Penny Lane" as originally
mixed down to mono after recording woodwind and brass overdubs for the track on the 12th of January.
Paul took this mix home and realized it needed something else to make it complete,
which ended up being a Bach trumpet solo which was recorded five days later.
In 1995, a hybrid of the oboe and trumpet versions was mixed for Anthology 2, but the "oboe only" mix
appeared in "The John Barrett Tapes" for the first time, complete with some studio noise and a count-in at the beginning.
10 Penny Lane Take 9 RM9 (2:58) - this mix includes the trumpet 3:11
11 Penny Lane Take 9 RM10 (2:57)
Along came David Mason and his Bach trumpet, and "Penny Lane" was mixed into mono and completed.
Or was it ? .... This mix, featuring a seven-note trumpet figure over the ending, is very close to the RM11
which was shipped to Capitol in the US immediately after its completion, and was used for the initial pressings
of the promotional 45's for the song.
However, the mix was improved upon on January 25th, and RM14 is the one that was used from that point on.
RM10 is included here in all of its mono glory.
X6 Tape - Tracks 12-15
12 Mr. Moonlight Common Stereo mix 2:38
13 Mr. Moonlight Take 4
This take was indeed issued on Anthology 1 in 1995, but in a compressed, extremely narrow stereo mix.
This is a superior mix by Barrett, which is more faithful to the stereo mixing style of 1964.
14 Ob-La-Di Ob-La-Da Take 5 (2:48) - Very bare version 3:01
15 What You're Doing Take 11 (1:58)
In 1999 this was again a truly exciting, never before issued item.
This take was temporarily marked "best" until the Beatles re-made the song on October 26.
It's a bit rough around the edges, but features a slate call, studio chat, full vocals from Paul and John,
and includes a "false ending" which was not utilized in the final version.
X7 Tape - Tracks 16-20
16 From Me To You (1:56)
A Barrett remix of the previously available stereo version, which is sans the harmonica introduction,
but features the "Da-Da-Da's" !
17 From Me To You This track is the released take of the Beatles' third single, yet is featured here
in the closest form yet to a stereo mix of the mono single version, with the harmonica in place over the intro.
It features the tail-end of Paul's "1-2-3" count-off, but does not include the introductory "Da-Da-Da's".
18 Thank You Girl Track 2 Take 14 with end from Take 30 (2:02)
The B-side of "From Me To You" is included in a stereo mix which is similar to the mono single version,
which featured fewer harmonica overdubs in comparison to the next version.
There is also a bit of studio noise at the beginning.
19 Thank You Girl RS30 (2:02)
A long-awaited mix, an "unechoed" stereo version with harmonica over the middle-eight as well as the intro and outro.
20 Yes It Is RS1 2:40
X8 Tape ("Ad Libs") - Tracks 21-25
21 Down In Havana Outake with the next sequence too 0:38
22 Step Inside Love
Los Paranoias
Recorded during the session for The Beatles (The White Album) track "I Will", with only Paul, John and Ringo in attendance.
Paul informally broke into "Step Inside Love" (1:22) and "Los Paranoias" (3:48) which were
combined on Anthology 3 in 1996, but were edited in comparison to their appearance here.
"Step Inside Love" is, of course, a tune Paul gave to Cilla Black and who had recorded it a few months earlier.
23 The Way You Look Tonight   (1:07)
Still from the I Will session, this is basically the tune of "I Will" with impromptu lyrics.
24 Jamming Surely not from the same "I Will" session as it's electric guitars and drum "jamming". 1;14
25 Can You Take Me Back The long version of the link track used between "Cry Baby Cry" and "Revolution #9" on The White Album.
The edit that featured on the album starts 1:27 into this longer unedited piece.
Bonus Track
26 Can You Take Me Back Incomplete 1:09

C.D. Two (Tapes X11-Get Back, X10)

No Tracklisting Comments Time
X11 Tape - The Get Back Album - Tracks 1-16
1 One After 909 (2:45)
DDSI no. 30.8 +
DDSI no. 30.9 ("Oh Danny Boy")
The only track from the Get Back album which used a recording from the "Rooftop Concert"
"All cameras clear" at start, then at end includes both,
"Oh Danny boy ...." and "Thanks Mo, I hope we passed the audition"
2 Rocker DDSI no. 22.58
A rock 'n' roll jam instrumental, that Paul bestowed this title on after ploughing through a
number of tapes in order to catalogue the large number of unlabelled tape boxes.
3 Save The Last Dance For Me (0:21)
DDSI no. 22.59
This was left on the album to maintain the "fun atmosphere of the whole session".
Starts with, "Just a minute boys" includes one line from the Drifters song and the following track.
4 Don't Let Me Down (3:32)
DDSI no. 22.80
"This time it's serious", false start, "Do your thing man" ....
5 Dig A Pony (3:41)
DDSI no. 23.70
"Let's do the next one, straight into I've Got A Fever"
6 I've Got A Feeling (2:41)
DDSI no. 22.71
At end John says, "I cocked it up trying to get loud"
7 Get Back (3:10)
DDSI no. 27.63 & 28.43
8 Let It Be (3:50)
DDSI no. 31.64 with April '69 guitar overdub
"Take 27 - sync to second clap"
9 For You Blue (2:28)
DDSI no. 25.47
Sound of ice in a glass, "Ok, quiet please"
10 Two Of Us (3:23)
DDSI no. 24.69
At end, "And so we leave the little town of England"
11 Maggie Mae (0:38)
DDSI no. 24.49
12 Dig It (3:47)
DDSI no. 24.85 (edited part thereof) +
DDSI no. 24.85 ("That was Georgie Wood")
13 Long And Winding Road (3:40)
DDSI no. 26.91
"Are we supposed to giggle in the solo ?"
14 I Me Mine (1:35)
Take 16, 3rd Jan. 1970 - "Are you ready, Ringo"
15 Across The Universe (3:27)
Take 7, 4th Feb. 1968 - "Y'alright Ritchie ?"
16 Get Back (Reprise) DDSI no. 28.43 - "Laughter" version - taken from the end of the film 0:39
X10 Tape - Tracks 17-20
17 Teddy Boy (5:37)
RS1 by Glyn Johns - 24th January 1969
18 Teddy Boy (4:22)
RS1 by Phil Spector - 25th March 1970
19 Old Brown Shoe Take 2 (Different mix to Anthology 3) - 25th February 1969 3:05
20 All Things Must Pass Take 2 - Mono (Different mix to Anthology 3) - 25th February 1969 3:09

Bare It All - Vols. 3 & 4        Bare It All - Vol. 5

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