Past Masters volume two is one of those extremely pleasant CDs. Virtually every single song included raises an emotion, leaving the listener anything but indifferent. Great songs from the fabs (Hey Jude, Paperback Writer, Lady Madonna) are mixed with others, less known to the common fan, and yet great shrill producers (Rain, The ballad of John and Yoko, etc.) To those that have collected the rest of officially issued LPs, the Past Masters bring the opportunity of finding great songs that were "hidden" from them. Volume two follows the rule as closely as volume one.
- Past Masters - Volume Two
- Recording Dates: 1965-1970
- Release Date: March 7th 1988 (CD)
Lennon
John: Rhythm / Lead Guitar and Lead Vocal
Paul: Bass and Lead Vocal
George: Lead Guitar, Vocals
Ringo: Drums, tambourine
Recording Date: October 16th - 1965
UK Release Date: December 3rd 1965 (Double A-side single/ We can work it out)
US Release Date: December 6th 1965 (Double A-side single/ We can work it out)
The need for a Christmas single in 1965 led the Beatles to write Day Tripper under pressure. The song will always be remembered by its opening riff, that John composed maybe inspired by Bobby Parker's Watch your step or even The Rolling Stone's Satisfaction. The lyrics were also John's although Paul lent a hand with the verses.
John had had earlier that year his first LSD trip with George. The lyrics were later described by him as a reference to "weekend hippies". People who were part-time hippies, and got in their flower shirts from time to time to listen to acid rock. However, that picture fits better in 1966 rather than 1965. The drug reference could be pointed to Paul's reluctance to take LSD, and the lyrics could easily have a similar baseline to Norwegian Wood's (the original line for "she's a big teaser" was "she's a prick teaser")
The song is a thrilling rocker that can be listed among the fabs' classics. The catchy riff presides the whole song soon produces the irresistible need in the listener to shake the head. Ringo's drums on the left channel and the tambourine high on the right provide the appropriate pace for a good rocker. Paul's bass underlines the whole scene effectively and the guitars do the rest. The recording shows the limitations that 4 track tape had in 1 day recordings, and 2 punch-ins are clearly audible. The first at 1:50 into the song, and the second at 2:32. Both vocals and the tambourine are slightly cut, probably in an attempt to give room for another instrument or vocal to be recorded.
Day Tripper was designed to be the Christmas single for 1965 until We Can Work It Out appeared. The argument on which was to be the single was settled by issuing the first "double A-side" single in the Beatles career.
McCartney-Lennon
John: Acoustic guitar, harmonium, vocals
Paul: Bass and Lead Vocal
Ringo: Drums, tambourine
Recording Dates: 20,29th October - 1965
UK Release Date: December 3rd 1965 (Double A-side single/ We can work it out)
US Release Date: December 6th 1965 (Double A-side single/ We can work it out)
When on October 1965 Jane Asher decided to join Bristol's Old Vic Company of theatre, it meant that she was leaving London and Paul McCartney behind and kept pursuing her actress career. Paul's idea of a girlfriend at the time was focused on a more dedicated woman that would stay with him, as the song reflects in the verses. The middle eight on the other hand is John's, that joins McCartney in the singing at this stage.
Musically the song is fantastic. The arrangements are simple but powerful. The tambourine is very effectively used, the harmonium (bought by Lennon at the Salvation Army) provides the chromatic base for the song (specially the middle eight) and Lennon's harmonies are nothing short of perfect. Once again a close collaboration between two geniuses was a masterpiece. Slightly over 2 minutes in length, even the acoustic guitar provides a discreet counterpoint in the background with a western reminiscent style. The single was a number 1 on both sides of the Atlantic, becoming the fastest selling since "Cant Buy Me Love".
McCartney
John: Rhythm guitar, vocals
Paul: Bass and Lead Vocal
George: Lead Guitar, Vocals
Ringo: Drums, tambourine
Recording Dates: 13-14th April - 1966
UK Release Date: June 10th 1966 (A side single/ Rain)
US Release Date: May 30th (A side single/ Rain)
Dear sir or madam, will you read my page? It took me years to write, will you take a look? It's based on four guys, they were called the Beatles and I need a job and I want to be a Beatles webmaster...
Paperback writer is a major step forward in the Past Masters II towards the most complicated recordings of the fabs. Several factors point out the changes already taking place. It's the first single that is not about love... Paul was backstage thinking for the new single (one of his aunts had asked him if he could write about something that wasn't love). Ringo was reading a book there and suddenly came the idea.
Paperback Writer also witnesses the appearance of the Rickenbacker 4001 bass in a single (only used before in "Think for Yourself"). The bass line is frantic, prominent and even more leading that the "lead guitar".
Paperback Writer is certainly a great song. So good that the mocking Lennon/Harrison falsettos will not spoil it. Listen carefully at the end of the song, they're almost laughing (the Anthology version shows them cracking up). The backing vocals in falsetto are poor and slightly out of key, but it doesn't matter (as a matter of fact is too high to reach consistently). Moreover, in the second verse, George and John back Paul singing "Frere Jacques" (a traditional french song). They are late at the beginning of the third verse (1:21) and a couple of bars early before the last chorus (listen carefully to a shy, high-pitched "paperback" on the left channel at 1:48). Nevertheless the song is magnificent and the 4 part harmony makes up for a thousand jokes and mistakes.
Lennon
John: Rhythm guitar, Lead Vocal
Paul: Bass, vocals
George: Lead Guitar
Ringo: Drums, tambourine
Recording Dates: 14-16th April - 1966
UK Release Date: June 10th 1966 (B side single/ Paperback Writer)
US Release Date: May 30th (B side single/ Paperback Writer)
Rain is probably one of those unknown jewels for the lesser fan. Without a doubt is one of the most pleasant surprises one can find among the past masters (provided that all the great hits are already known). The success of the song resides in the atmosphere created by the sounds that the Beatles managed to capture in the recording. Beginning with Ringo's incredible drumming (considered his best recorded performance by himself), every single piece fits perfectly in the song. George's guitar at its indian best is backed up by an hypnotic bass played by McCartney in the final frets of his Rickenbacker 4001. The vocals by Lennon are fantastic, but nothing short of that come the backing lines by Paul that melt perfectly with John's. And to put a cherry on top, the backward vocals by Lennon at the end of the song, being Rain the first song ever to feature backward lyrics (that sound rather like an Eastern chant by Lennon to go with the song).
Technically, Rain is also an outstanding recording. A perfect showcase for the recording techniques that had been discovered by the fabs in the studio. As a matter of fact, the basic tracks were recorded faster and then slowed down (using varispeed to alter the tones in the song). Paul's bass is mixed prominently and the song revolves around it, spreading across the stereo with Ringo's battery separated in the channels. Also the voices are separated creating an evolving effect that required great precision in the singing. The result is what is usually considered as the best B-Side in any Beatles single (not taking into account the double-A sides).
McCartney
John: Lead guitar, vocals, handclaps
Paul: Piano, bass, lead vocal, handclaps
George: Lead Guitar, vocals, handclaps
Ringo: Drums, handclaps
Ronnie Scott, Bill Povey: Tenor saxes
Harry Klein, Bill Jackman: Baritone saxes
Recording Dates: 3rd, 6th February 1968
UK Release Date: 15th March 1968 (A side single / The inner light)
US Release Date: 18th March 1968 (A side single / The inner light)
Track 5 represents a two year leap in Beatles history, and I have to be honest, I'm absolutely biased in this one. Undoubtedly one of my favorites, Lady Madonna is capable of changing my mood in just 2 minutes. The whole thing is a masterpiece from beginning to end. From the initial riff and rhythm (borrowed from "bad penny blues" a 1956 hit in Britain for jazz trumpeter Humphrey Lyttelton, produced by George Martin) the song keeps growing until the end with a pace that makes any foot tap on the floor.
Lady Madonna was carefully designed to be the breaking point towards old rock'n'roll standards. Behind were left Sgt. Peppers and Magical Mystery Tour. The piano in the song was recorded using an old microphone to get the peculiar sound featured in the song. Ringo played the drums with brushes. The backing harmonies were reminiscent of old times and a traditional wind section was included. The result a classic ageless song in a constant part crescendo: First piano and brushed snare, then we get bass drum and bass (joined almost as one instrument). After the first superb "see how they run" the fuzzed lead guitars come in, shortly followed by the saxes. Second round: the lead guitars take it now from the beginning joined by the saxes after "feed the rest" while the piano gets more active. Third and final round, everything goes. Guitars, saxes, piano and a fantastic vocal by Paul. Finale. Smile.
Paul wrote the song as an hommage to all mothers. He was looking in an African magazine and saw the picture of a woman with a child titled "Mountain Madonna". No, he thought, "lady Madonna". And wrote the song.
John: Vocals
Paul:Vocals
George: Lead vocal
Session Musicians: shehnai, tabla, pakavaj and harmonium
Recording Dates: 12 January, 6th,8th February 1968
UK Release Date: 15th March 1968 (B side single / Lady Madonna)
US Release Date: 18th March 1968 (B side single / Lady Madonna)
George Harrison spent three months recording his sountrack for the film Wonderwall (now made popular by the Gallagher brothers). During his trips to EMI Bombay he laid the basic track for The Inner Light. The song's lyrics are based on a passage from the Tao Te Ching, in particular the one called "The inner light". In September 1967 during The Frost Program, George had met Juan Mascaró, a Sanskrit scholar from Cambridge. Mascaró sent him a copy of "Lumps of fire" an anthology which contained the mentioned passage.
McCartney
John: Acoustic guitar, vocals
Paul: Piano, bass, lead vocal
George: Lead Guitar, vocals
Ringo: Drums, tambourine, vocals
Session Musicians: 36 piece orchestra
Recording Dates: July 29th to August 1st, 1968
UK Release Date: 30th August 1968 (A side single / Revolution)
US Release Date: 26th August 1968 (A side single / Revolution)
Hey Jude is one of Paul's most inspired songs from beginning to end, and of course one of the fans' favourites. The song is both mellow and strong, simple and sophisticated (in the final crescendo) with straight lyrics and a deep message. As a matter o fact, as the song begins, the listener may think to be assisting to another McCartney ballad... but Ringo's roll is used to bring the drums in and set an interesting pace. From that moment, the richness of the song increases with every bar,... the carefully worked harmonies, the syncopated drums and tambourine helped by the piano and a great bass line, the sing-along chorus and the orchestra coming in at the finale (with a delicious mantained note by the violins and wind at 4:41, very "a la yesterday").
Paul initially thought about "Hey Jude" while driving to John's house to see Julian. Thinking of the hard times that Julian was probably going to experience (John and Cynthia had recently separated and Lennon was already living woth Yoko Ono), Paul started the song "hey Jules, dont make it bad. Take a sad song and make it better". Jules was later turned to Jude (it was a stronger name) and some of the lyrics were changed. As a matter of fact, Paul was not very happy with some of the lines, but John wouldn't touch "the movement you need is on your shoulder" being probably the best line in the song. Julian Lennon acquired recently the original manuscript for Hey Jude a an auction.
Being a great song, the Beatles knew that it deserved a superb production. For two days, The Beatles tried several takes at Abbey Road. Although the result was excellent (see Anthology 3), the need for an orchestra was evident. And so they decided to move to the 8 track facilities of Trident Studios in London (Abbey Road already had an 8 track machine but it was being tested and The Beatles didn't know about it). A 36 piece orchestra was selected for the recording, and the musicians were asked to join in the final chorus (one of them refused to do so, probably deeming it "unappropriate"). Hey Jude became the most succesful single for the Beatles, with over 5 million copies sold and nine weeks on top of the American charts despite the fact that it was "too long for a single" (7 minutes 11 seconds).
Lennon
John: Lead guitar, vocals, handclaps
Paul: Bass, Hammond organ, handclaps
George: Lead Guitar, handclaps
Ringo: Drums, handclaps
Nicky Hopkins: Electric piano
Recording Dates: 9th-11th July 1968
UK Release Date: 30th August 1968 (A side single / Revolution)
US Release Date: 26th August 1968 (A side single / Revolution)
Revolution was one of the three revolutions released by the Beatles during the White Album period (see disc 2 of the White Album for the other two). This version is the most distorted recording the Beatles ever made, with both fuzzed guitars saturated with direct injection. Although recorded later, this Revolution (the one in the album was called Revolution 1) was released in first place as a B side for the Hey Jude single. The reason for this new version was that both McCartney and Harrison thought that the song was too political to be in a single. They told Lennon that it was too slow... of course John had the solution to that problem.
In this version, Lennon asked to be left out of violent protesting (you can count me out). However in the album version he asked to be counted in once. The truth is that by the time that the single version was recorded, Lennon had already placed a bet for peace, and no one could count him in for violence.
It is curious to note how in this song the electric piano is credited to Nicky Hopkins, when it is generally believed that only Billy Preston played such an instrument (apart from George Martin) in a Beatles record.
McCartney
John: Lead guitar, vocals
Paul: Bass, lead vocal
George: Rhythm Guitar
Ringo: Drums
Billy Preston: Electric piano
Recording Date: January 27th 1969
UK Release Date: 11th April 1969 (A side single / Dont Let Me Down)
US Release Date: 5th May 1969 (A side single / Dont Let Me Down)
The Get Back version found in the single is slightly different to the one found in Let It Be. The versions in the single and in the LP both apparently come from the same master, but the fact is that both were recorded live in the studio in consecutive days (Jan 28th for the LP and Jan 27th for the single). The production job is quite different: In the LP edits from the rooftop concert were included, while the single was treated like a studio song (in fact too much reverb on Paul's voice may make more desirable the LP version).
In the beginning of the song, Paul was writing about politics, and in some of the bootlegs of the song some misinterpretable lines about pakistani immigrants can be heard. Paul was precisely trying to do a satire of those who felt that immigrants should be repatriated. Finally the song remained just a jolly rock number about Jojo, a man who left his home in Tucson, Arizona.
Lennon
John: Rhythm guitar, vocals
Paul: Bass, lead vocal
George: Lead Guitar
Ringo: Drums
Billy Preston: Electric piano
Recording Date: January 28th 1969
UK Release Date: 11th April 1969 (B side single / Get Back)
US Release Date: 5th May 1969 (B side single / Get Back)
Don't Let Me Down was recorded live, inmediately afterwards the Get Back version featured in the same single. The song, derived from Dylan's "I shall be released", was written for Yoko and passionately sung by John.
Lennon
John: Acoustic guitar, lead guitars, lead vocal
Paul: Bass, drums, piano, maracas, vocals
Recording Date: April 14th 1969
UK Release Date: 30th May 1969 (A side single / Old Brown Shoe)
US Release Date: 4th June 1969 (A side single / Old Brown Shoe)
The ballad of John and Yoko is a clear proof of why the Beatles are the greatest. In April 1969 the fabs had just finished the "Get Back" sessions (later to become Let It Be) in a terrible atmosphere that one can sense in the footage filmed there. However, when John decided to tell the story of his marriage to Yoko, Paul was there to play drums, bass and maracas for him. The greatest songwriting team in history went head-to-head into Abbey Road's studio 3 to lay down the tracks for this great rocker.
The song is about John's wedding and honeymoon, extraordinary as they were. As a matter of fact, two days after Paul had married Linda, John decided to get married. Initially his idea was to be married at sea in a ferry crossing the Channel. However that was impossible. Second option getting to Paris for a quiet wedding, but John and Yoko didnt have their passports with them, and "the man in the mac said, "you've got to go back"". Finally they made their way into Paris in a private jet, and they decided to get married in Gibraltar (a couple of British square miles in surrounded by Spain and the Mediterranean) where paperwork would be easier to prepare. Less than an hour after landing, the couple was on their way to Amsterdam for their world famous bed-in, probably the first honeymoon in history with full media coverage.
As for the music, well I have to say it's also a favourite for me. A simple production and a tight multitracked performance brings the rocker to life. As a matter of fact, John's song is an excellent showcase to show how good a musician Paul McCartney is (his drumming is impecable and both piano and bass are up to the usual standards). However, the great touch of Beatle quality in this song are the backing vocals in the last verse/chorus with McCartney hitting a single note for most of them. The single made it to No. 1 in Britain, and only to the 8th spot in USA, probably due to the ban of many radio stations for the "crucified" bit.
Harrison
John: Vocals
Paul: Bass, piano, vocals
George: Guitars, organ, vocals
Ringo: Drums
Recording Dates:16th, 18th April 1969
UK Release Date: 30th May 1969 (B side single / The Ballad of John and Yoko)
US Release Date: 4th June 1969 (B side single / The Ballad of John and Yoko)
George demoed Old Brown Shoe on February 25th 1969 at Abbey Road along with "Something" and "All Things Must Pass". The day before at the piano he had hit a chord sequence he liked, to which words were added. Old Brown Shoe is a powerful song, with a good guitar solo and a extraordinary bass. The lyrics are not specially meaningful in terms of telling a story, and that even semt to get into George Martin when mixing the vocal (it is clear at the beginning of the song that raising the level a little would have helped quite a lot)
Lennon
John: Acoustic guitar, lead guitar, lead vocal
Paul: Piano, vocals
George: Sitar, tamboura, vocals
Ringo: Maracas
George Martin: Hammond Organ
Lizzie Bravo and Gayleen Pease: vocals
Recording Dates:4th, 8th February 1968
UK Release Date: 12th December 1969 (LP: "No One is Gonna Change Our World")
US Release Date: 12th December 1969 (LP: "No One is Gonna Change Our World")
Although Across the Universe was recorded only once by the Beatles and two different versions were issued afterwards, both issues contain undesired additions at the production stage. The song was recorded as early as february 1968, but for several reasons (John was not fully satisfied with the result) it remained unissued until 1969. Yes, 1969, since the World Wildlife Fund charity album "No One is Gonna Change Our World" was issued then. This is the version included in the Past Masters 2. Wildlife sounds were added to the song for that release (not intended by the Beatles) and was speeded up half a tone. Phil Spector used the original 1968 tape to overdub orchestral and choir arrangements for Let It Be, although the song was slowed down beyond the original speed. So none of the two versions is reproduced at the original recording speed.
And hence, listening to the Past Masters II version and then to the one on Let It Be, one can inmediately feel that Spector's version is way too slow. The same operation performed the other way around, presents John Lennon as if he had breathed a baloon of helium.
The song was written by John at Kenwood after an argument with Cynthia. Laying on the bed, the line "pools of sorrow waves of joy" came to his head, and there it stayed until he got up and wrote it down.
McCartney
John: Bass
Paul: Piano, Maracas and Lead Vocal
George: Lead Guitar and Vocals
Ringo:Drums
Billy Preston: Organ, electric piano
Session Musicians: 2 trumpets, 2 trombones, tenor sax and Cellos
Recording Dates: 25th,26th and 31st January 1969. 30th April 1969. 4th January 1970.
UK Release Date: 6th March 1970 (A Side / You Know My Name (Look Up the Number))
US Release Date: 11th March 1970 (A Side / You Know My Name (Look Up the Number))
Let it Be is one of those songs that by one mean or another achieves to stay in one's heart forever. Personally, Let It Be is the first song I remember singing as a 3 year old with my uncle on guitar. But putting feelings aside, there's hardly a finer song in the Beatles career (many though come equal to this one). It is not only magnificent musically, but it also served as a perfect last song for the Beatles, who still almost 30 years later tell us to let it be the way they decided it to be.
The song was recorded for the Get Back sessions, and can be seen in Let It Be live showing that it was excellent from the start. At that pont it was John and George doing the backing vocals in the chorus (are we suposed to giggle in the solo? said John -see Anthology 3) However and as satisfactory as that version proves to be, the song wasn't complete. In April 1969, George recorded another fuzz-tone solo that would appear in the album version (where extra drums, maracas and backing vocals were added, and George Martin score was mixed higher). However, many think that the version in Let It Be was ruined by Spector's production. I personally like it, although the single is also magnificent.
Paul wrote Let It Be, in a time of distress, when he was looking for answers and he needed a light in the dark. He dreamt one night of his mother, Mary, who came to him in times of trouble. Although the song did put a great end to the Beatles career as a single and LP, it was written back in January 1969. A Beatles masterpiece.
Lennon
John: Guitar, maracas, lead vocal
Paul: Bass, piano, lead vocal
George: Guitar, vibes and Vocals
Ringo:Lead vocal, bongos and drums
Mal Evans: Spade in Gravel
Brian Jones: Alto saxophone
Recording Dates:17th May, 7th, 8th June 1967. 30th April 1969.
UK Release Date: 6th March 1970 (B Side / Let It Be)
US Release Date: 11th March 1970 (B Side / Let It Be)
After the recording of Sgt Pepper's, the Beatles went through a period of messing around the studio with almost no pressure. So one day, when John came up with the idea of recording "You know my name", they decided to do it right away. Paul asked to see the lyric, and John told him that was the lyric (the title/lyroc came to John from the cover of the London telephone directory. "You have their name? Look up their number".
The song that was meant to have the single phrase repeated like a mantra, went through different recording sessions, with the collaboration of the Rolling Stone Brian Jones. On November 1969, John edited the 6 minutes track down to 4 minutes (in Anthology 3 a longer version can be heard). His intentions were to release it together with "What's the new Mary Jane?" as a Plastic Ono Band single. As a matter of fact, even a catalogue number from Apple was set and a release date (December 5th), but the fact is that the single never saw the light. Finally, You Know My Name was recovered as a B side of Let It Be. Probably the strangest song ever to go into a Beatles single.
The only variations from the lyrics were introduced by John asking for a big hand for "Denis O'Dell". Denis was in fact an Irish film producer (associate producer in A Hard Day's Night) that later became director of Apple Films and Apple Publicity. Denis had to go off directory after receiving docens of calls... one of them, coming from the US even saiid "We know your name and now weve got your number"
