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Revolver: Notes
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.. contents::
Purple Chick's Deluxe Edition of Revolver is three discs long: the
first two comprise "Volume One", the recordings from the mid-1966
sessions as released commercially and alternate mixes of the same
takes. Volume Two (which confusingly, both Purple Chick and I sometimes
refer to as "disc 3") is outtakes from these sessions.
Volume One
---------Disc 1
......
Volume One opens with the first single of 1966, Paperback Writer b/w
Rain. Disc 1 has the stereo mixes: Paperback Writer was made on October
31, 1966 for A Collection Of Beatles Oldies (and Dr. Ebbetts' transfer
of that album was used as Purple Chick's source). A stereo mix of Rain
wasn't needed until Capitol compiled the Hey Jude LP in 1970 -- that
mix was made on December 2, 1969.
The next fourteen tracks are the stereo UK release of Revolver, taken
from Dr. Ebbetts' transfer of the Blue Box remaster.
Tracks 17, 18 and 19 are the US stereo mixes of I'm Only Sleeping, And
Your Bird Can Sing and Doctor Robert, respectively. These were used on
reissues of Yesterday And Today (the original stereo issue used mock
stereo mixes of these tracks, and of course these aren't included
here). Lewisohn doesn't show two mixes of And Your Bird Can Sing, but
they're slightly different (mostly in the loudness of the guitars) and
Barrett shows that two sets of mixes for all three songs were made. The
US stereo mix of Doctor Robert has similar loud guitars. I'm Only
Sleeping is noticeably different in the backwards parts (see Brennan
for details).
Tracks 20 and 21 are mixes of Paperback Writer and Rain made for the
video of Anthology. Tracks 26 and 27 are the same two tracks made for
the later DVD release. Track 25 is a new mix of For No One for the
Anthology DVD, and track 28 is a medley made of song segments that
weren't presented there in their entirety.
Tracks 22-24 are from Yellow Submarine Songtrack. These are remixes
made in 1999 for the Yellow Submarine (movie) DVD. I suspect they're
made from the 5.1 surround mixes, since they sound pretty good when
passed through a Dolby Pro Logic II decoder. Eleanor Rigby has the
strings from take 14 synchronized with the vocals from take 15 (which
was a reduction of take 14), so for the first time the strings can be
heard in stereo. (Some people can hear the vocals become a few
milliseconds out of sync, especially near the end of the song.) Love
You To and Yellow Submarine also benefit from being able to synchronize
tracks from one take with overdubs from another, effectively extending
the number of tracks to more than four.
Disc 2
......

The first two tracks are the Paperback Writer / Rain single, taken from
Dr. Ebbetts' transfer of the original mono 45. The echo on Paperback
Writer is much different than the stereo mix, and the fade lasts one
repeat of "Paperback Writer" longer.
This is followed by the UK mono release of Revolver. That is, the "mono
matrix II" release: matrix I was made on the first day or two of
pressing and used RM11 of Tomorrow Never Knows. At that point, George
Martin realized that RM8 was superior and new masters of side B were
cut. All the other mixes are the same. RM11 of Tomorrow Never Knows is
on this disc as track 19, and resembles the stereo mix more than the
common mono one. It also has a longer fade.
Contrary to popular belief (and George Martin's comments on track 26 of
Volume Two), the tape loops of Tomorrow Never Knows were recorded to at
least one track of the four-track master tape, and thus a modern remix
can sound more or less the same as the 1966 mixes. (This is evident
from the sound effects common to all three mixes appearing at the same
times in each mix.) And speaking of popular beliefs, John's "a life of
ease" heard on the mono mix of Yellow Submarine but not the stereo mix
was *not* accidentally erased after the mono mix was made. He
originally followed all of Ringo's lines, but only "as we live" was
erased (a result of using the same track for the sound effect overdubs
as was earlier used for John's voice and letting the recorder run a few
seconds too long). When the mono mix was made, the partially taped over
"as we live" was muted, but both it and "life of ease" were muted by
accident when the stereo mix was made. The line appears (in stereo) on
both the Yellow Submarine Songtrack mix (track 24 on disc 1) and the
Anthology single mix (track 19 on disc 3). No explanation as to why the
guitar strum opening the song is only heard at the beginning of the
mono mix.
Tracks 17 and 18 are the US mono mixes of I'm Only Sleeping and Doctor
Robert, respectively. Like the US stereo mix, I'm Only Sleeping has
noticeably different backwards guitar parts than the other three mixes.
Doctor Robert doesn't quite finish fading out before the end of the
song is reached, and John (or someone who sounds like him) can be heard
saying something like "okay, Herb" at the very end.
Track 20 is a mono mix of Yellow Submarine taken from an acetate. It
was probably made on June 1 as "the band begins to play" overdubs were
being made, which is the only noticeable difference between it and the
released mono mix. Track 21 seems to be identical to the released mono
mix, except for the announcement at the beginning. This is from the
tape prepared for the Yellow Submarine movie that also included mono
mixes of several of the 1967 songs that weren't used elsewhere (see
Purple Chick's Sgt. Pepper's Lonely Hearts Club Band Deluxe Edition and
Magical Mystery Year for the others).
And speaking of Yellow Submarine, the mix of the title track used on
the UK mono release of the movie's soundtrack album is just a fold-down
of the common stereo mix and isn't used on this release.
Purple Chick doesn't use the US mono mix of And Your Bird Can Sing,
which according to Lewisohn and Brennan is made from RM7 and RM8 edited
together, while the UK mono mix is made from RM9 and RM10. Perhaps they
felt the US mono mix was in fact also from RM9 and RM10 (and the
earlier mix was stereo and not mono), but this doesn't explain how they
ended up on an album released less than two weeks later on a continent
an ocean away.

Volume Two
---------Volume Two starts with take 1 of Tomorrow Never Knows, the first song
recorded for Revolver (on April 6, 1966 onto tape E59734) but last song
on the album. (This is sourced from Anthology 2.) Titled "Mark I" at
this point, this is much different from the master (take 3), which
seems to encapsulate everything that would dominate Beatles' recordings
well into 1968: artificial double tracking (ADT, delaying a track by
tens of milliseconds and mixing it with the original to obtain a
similar effect to double tracking), flanging (similar to ADT, but with
a much shorter and variable delay, the term allegedly invented by
George Martin and still used for that effect today), tape loops, and
backwards recordings. This was also the first recording session that
Geoff Emerick would appear on as first engineer after the departure of
Norman Smith in late 1965.
Track 2 is take 5 of Got To Get You Into My Life, assembled from
Anthology 2 and the video and DVD versions of Anthology. This was the
best take of the song recorded on April 7 onto tape E59734. (Take 8
would be recorded the next day and go on to become the master.)
The next two tracks are both takes of Paperback Writer, recorded on
April 13 onto tape E59736. Take 1 has no overdubs (or vocals) and
breaks down, while take 2 includes overdubs from the following evening
and is presented here complete, without echo or fade.
Tracks 5 and 6 are take 2 of And Your Bird Can Sing, recorded onto tape
E59740 on April 20. Track 5 is essentially an outfake, created by
taking the rear channels of the surround mix on the Anthology DVD and
removing a loop added to the song. Track 6 is the same, but with the
laughing vocals mixed back in.
Track 7 is the Anthology 2 version of take 11 of Taxman (recorded April
21 on tape E59744). This doesn't have the "Mr. Wilson, Mr. Heath"
vocals from take 12 (a reduction mix of take 11 made the following
day), but it has the complete ending. (In the released version, the
ending is a copy of the guitar solo edited on.) However, this includes
the intro that wasn't recorded until May 16.
Following this is take 14 of Eleanor Rigby, the best take of the double
string quartet from tape E59872 on April 28. The strings were reduced
to one track of take 15, onto which the vocals were recorded, resulting
in the strings being heard only in mono until this mix of take 14 was
released on Anthology 2. They've since been used in stereo (and
surround where possible) on the Anthology DVD (in track 28 of disc 1),
Yellow Submarine Songtrack (track 22 of disc 1) and Love.
Tracks 9 and 10 are a remake of I'm Only Sleeping, made on April 29 on
tape E59873. Track 9 is the remnants of a rehearsal which was taped
over by takes 1 through 5 (track 10 is take 1). The released version of
the song was started on April 27 (takes 1-11) and had backwards guitar
overdubs made to take 11 on May 5. This was then reduced to takes 12
and 13 on May 6 when vocal harmonies were overdubbed. (Overdubs to the
released version were possibly done on April 29 as well, but because of
the remake also made that night neither Barrett nor Lewisohn are clear
on which version they were recorded to.)

Tracks 11 through 18 are 7 proper takes and parts of the rehearsal for
For No One, recorded on tape E59985 on May 9, taken from a monitor mix
(probably made during mixing of the song, as the tape is heard being
rewound at various points). Track 11 is a rehearsal, probably
preceeding the proper takes on the reel. Tracks 12 and 13 are takes 1
and 2, respectively, featuring Ringo on drums and Paul on piano. Tracks
14-16 are unnumbered distinct takes. Track 17 is a composite of several
recordings of take 10, also featuring Paul on vocals on May 16
(possibly recorded while mixing take 10 into reduction mixes as takes
13 and 14). Track 18 is take 14, which included the horn for the first
time.
Track 19 is an alternate mix of take 5 (the master) of Yellow Submarine
from the Real Love single. This has more of the sound effects that were
mixed out of the master of that track and is more liberal with panning
in its stereo mix, but most importantly has the intro recorded on June
1 that was left unused for 30 years.
Track 20 is take 7 of Here, There And Everywhere with part of take 14
(the master) mixed in at the end to provide backing vocals. Track 21 is
various monitor mixes of take 14 edited together to produce a complete
version.
Track 22 is the Anthology 2 version of take 5 of Got To Get You Into My
Life. This is different from track 2, which had portions of the
Anthology video and DVD edited into it.
Tracks 23 and 24 are take 2 of And Your Bird Can Sing taken from
Anthology 2. This mix has the vocals centred, so they are easily
removed by taking one channel of the stereo mix, inverting it (making
it 180 out of phase with the other channel), then mixing them together
to remove anything in the centre. (This is called Out-Of-Phase Stereo
[OOPS], and can be used on a lot of Beatles tracks to make stuff hidden
in some of the mixes more apparent.) This was done to track 23; track
24 is the unaltered "laughing vocals" mix.
Tracks 25 and 26 are monitor mixes of Tomorrow Never Knows taken from a
segment of the Anthology DVD where George Martin and the Threetles are
sitting around a mixing console discussing the two takes of the song.
The origins of sound effects in both take 1 and take 3 are revealed,
although George Martin erroneously states that the mixes cannot be
reproduced moments after isolating the sound effect tracks on the
mixing console.
Tracks 27-29 are the fragments of For No One, take 10, from which track
17 was assembled. Track 30 is an alternate source of take 14 of that
song.
Tracks 31-34 are the fragments of Here, There And Everywhere, take 14,
from which track 21 was assembled.
Track 35, not listed on the cover art, is an alternate mix of take 7 of
Rain. Aside from some tape dropouts, it doesn't sound much different
than mix RS1 (the fade at the end might be a little longer, or someone
just turned the volume up).
Bibliography
------------

The Beatles Deluxe Editions By Purple Chick


http://x3mkungen.mine.nu/wogev/beatles/pc/index.html
The BeatleSource
http://www.beatlesource.com/
BootlegZone
http://www.bootlegzone.com/
Brennan, Joe. The Usenet Guide to Beatles Recording Variations
http://www.columbia.edu/~brennan/beatles/
Lewisohn, Mark. The Beatles Recording Sessions
Lewisohn, Mark. The Complete Beatles Chronicle
Ryan, Kevin and Kehew, Brian. Recording The Beatles
Winn, John C. (ed.). John Barrett's Notes

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