Beatles / One Down Six To Go Vol 1 /  5CD Wx Slipcase

Beatles / One Down Six To Go Vol 1 /  5CD Wx Slipcase / Valkyric Records. VAL 001

Translated text:

Sgt Pepper’s Lonely Hearts Club Band Recording Sessions. Digitally Remastered

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■ Ultimate set including many first appearance sound sources that have never been recorded anywhere.
■ It is longer than the previous episode, including those that are recorded for the first time in an unedited manner.

Sargent Peppers was announced in June 1967. There was a sign that the bud of the hippie movement was bloomed in all fields until now, but it was nothing other than the Beatles’ Sargent Peppers, which was recognized as a psychedelic social phenomenon in earnest. In addition to being a bold, it is also recognized as a masterpiece even in the modern era after half a century since the announcement, as a symbol of that era. Is it under the influence of drugs, esoteric lyrics in which metaphor is interspersed, fancy tune with glitteriness? None of them made me feel the new musicality of the Beatles different from the past. The result of resigning from all the live activities and concentrating on the studio work was fruited as a concept album collecting the styles of such studio technology at the time.

As an album concept, a fictitious band led by Sergeant Pepper is going to show, and entertainers starting from the hustle and bustle of the audience, entertainers appearing one after the other, have become the trend of ending like ending and reckless encore. However, it is not necessarily all songs recorded along this concept by listening to “Lovely Rita”, “When I’m Sixty Four”, “Within You Without You” and so on. Roughly speaking, it can be said that songs interposed between them are irrelevant, since only the first few songs and reprints are consistent with the concept. If we mention the concepts that seem to be concepts, it might be in a tune that covers the whole, a tone that has undergone complex work. Such an atmosphere can be felt as a scent remaining in the next magical. To put it briefly, the symbol embodying the psyched world view and fixing it in the era is the concept of this album. The album was released in June 1967, but the recording began around December 1966. Since the last tour is August, it is a recording after taking a three month vacation. Considering that you are recording “revolver” from April to June, you can visit and know how high the creative motivation of this time was during the tour. This work is the title which recorded the recording session of this album “Sargent · Peppers”. This work is Vol.1.

It is recorded as a series of recording sessions since it is recorded at the same time as Sargent’s song, with one song on both sides A released in single. The release is to advance the album in February 1967. It is not unusual that many identical takes-ups remain from the demo stage until completion. It is such a complicated and proof that John repeatedly refined. The demonstration sound source which was originally titled “It’s not Too Bad” was recorded in Spain during the filming of the movie “How I Won The War” in October 1967. The skeleton of the song has already been completed, and that beautiful melody stands out with such a simple performance. Then in November 1966 changed the place to Kenwood’s home, and demonstration sound sources were recorded by electric guitar. Although the lyrics are somewhat different, they are almost completed, and the vocals are also recorded in double tracks. As in the final version, it is still earlier that it will start with “Let Me Take You Down ♪”. It is interesting that the disc 1 tracks 22 and 23. It shows the trial and error situation of Merotron introduced as a new attempt. In order to find out how to use it effectively, it seems that you are trying various sounds like Puwa ~.

This was a demonstration sound source by John alone, but since November 24, 1966 he finally entered the studio and entered full-fledged recording with engineers and others. Initially it is a melody of mellow tones and it is a song feeling. At this time, recording has been intensively done at the end of November, and you can see how the songs are completed rapidly. In December, recording continued, and on December 8, 1966, for the first time, George Martin ‘s hands recorded orchestral string instruments. It is hard thing that impression has changed completely from what was originally made by Melotron. Until then, I had arranged arrangements using Merotron, but John had a huge impression, and he would have asked Martin a completely different orchestration. The disc 1 track 46 was the first song to be played by this orchestra. Not only did it become up-tempo, but John’s singing turned into a rock style. After this, recording stopped Merotron for a while and the orchestration was backed up. In the latter half of the recording we made a hard song that introduced the orchestra, which was a slow melody at the beginning of Melotron. Trying John, neither of them can be thrown away. Then I make a suggestion to Martin. “Give me two versions.” The result is an acetate sound source which combines take 7 and take 26 recorded on the disk 2 track 5.

Both sides of Strawberry Fields and Penny Lane are the strongest couplings in history and are rare combinations where John and Paul’s talent explodes at the same time at the same time. It fulfills the feeling of fulfillment as if you finished listening to the album with just these two songs. Paul played this song on a piano, whereas strawberry fields were made with guitar. Disk 2 Track 9 shows how a really lively studio practicing vocals and chorus while hitting hand clapping while Paul instructs. Speaking of “Penny Rain” is that impressive oboe and trumpet. This also includes a state of trial and error making various melodies. Originally it was only added sparingly as an accent, but what made it a penetrating melody was the right choice to determine the impression of the song. Disc 2 The single track vocal of track 17 is a great outtake combined with a singing way of singing.

Well, from a series of recording sessions, it is finally the sound source of an album recorded song. Recording of a hard title song decorating the beginning of the album began on February 1, 1967. Paul was intentionally singing with a dyed speech, as it was done with a warm up, a rock-oriented song that originally brought drums and guitar to the front from the beginning, as was done in “Oh darling” later on. Because it was decided that the ending can be linked to “With A Little Help”, it seems like I am dumping it to finish until the ending. Hard vocals in addition to the circus-like intro. However, Paul seemed to want to add one more bit more, and in disk 3 track 16 he was playing a shrill guitar. Disk 3 Track 18 is the hustle bustle used in that intro which was in the library of the studio. It is recorded in the uncut with a length of 2 minutes and 20 seconds as a whole.

It is the second song of the album and it is a tune connected by medley. When you listen to this, you can see that the borders of the songs are classified by the part by piano repeated hits. The clean intro before cheers are covered is fresh. Disk 3 Track 30 is only vocal by apple’s single track, and chorus has not been superimposed yet. For the first time on track 31, a chorus “Very cute” is added to the piano succession of the intro. The chorus in the song is also recorded like a cappella, but when you listen to it, it sounds like George is tight. Conversely, the track 35 is a chorus track. It is not like overlapping takes as in the early days because of the relation of the recording method, but since the track which superimposes musical instruments in order is recorded, it is as if it seems as if it separated as like multitrack, but these are piled up That means the song was completed. The disc 3 track 37 is a cheering part connecting the medley portion with the first song.

Well this one of the highlights of this work will be this Lucy session. John is a fantasy song composed with inspiration from a picture drawn by a young Julian. Take 1 is a different vocal and John sings somewhat flat. It can be heard that the effect itself has already been applied to the voice itself. The chorus part of the chorus is still unrecorded and becomes karaoke. The ending is attention, and the part which finally fades out processing is recorded neatly (although it is a somewhat finished way even though it says it). While WITH A LITTLE HELP was recorded on a track by track basis, John seemed to like the legendary recording method, so the take that he sang several times is left behind like this. The chorus part of the chorus that repeats the title with a bold voice of Paul will not eventually appear until Take 8 and it will have been recorded long after. Disc 4 The track 20 is a take sung by Jeremy who appeared in the movie “Yellow Submarine”.

Take 1 will be announced, but basic tracks are recorded by re-partitioning after breaking down once. Vocal is still a musical instrument tracking track that can only be heard far away. The fact that the sound of Elephi is used so effectively is that it is difficult to notice mediumly when it contains vocals. Truck 24 can also hear rough guide vocals but the volume is small. Vocal is recorded for the first time on March 23, 1967. Of course the main is Paul and the chorus seems to be John alone. By the way, it was shown on the stage in the 2002 tour. The cutting phrase of the guitar is an impressive song, but in the early take which can be heard in this work, it is being played with elephi. Interestingly on disc 4 track 30, clipping is recorded as a sound effect. This was eventually omitted.

Take 1 was recorded on February 9, 1967. Vocals are very similar to release versions, but they are separate take. I do not have any chorus, and received a very simple impression by Paul’s solo. Disk 5 Track 6 is a rehearsal, and it is recorded that the characteristic Baroque keyboard is trying with that and that. It is surprising that he can listen to the studio other than Sargent · Peppers’ songs. Take 3 that enters as it is with another vocal is also another vocal, compared to Take 1 who was singing calmly, this is singing as if it jumps energetically. I did not like the take so far, I am recording a new backing track on February 21, 1967.

Paul is playing this song live at the 2002 tour. It will be understood by the person actually present, but at the live it was only the keyboard and chorus performances played by Wix. In fact, the original version recorded in Sargent · Peppers is recorded only back string instrument, the so-called Paul’s exclusive place and the other members are participating only in the chorus. It was George Martin who was in charge of all the producers since his debut, but the score of the stringed instruments of this song is externally asked to be Mike · Leider. busy

Before “Sargent · Peppers” became “Sargent · Peppers”, members were called as “ONE DOWN, SIX TO GO” on the tentative title. This work is titled according to it. It is a big project that includes a lot of debut sounds, covering 10 disks indeed. This work is its first part. Recording of “Strawberry Fields” which became the entrance of the recording and “She’s Leaving Home” from the studio session sound source is recorded. Permanent preservation of a beautiful picture / disk specification A tightly pressed press.



アルバム・コンセプトとしては、ペパー軍曹率いる架空のバンドがショウを行なうというもので、観衆の喧騒から始まり次々に現れるエンターテイナーたち、名残惜しむかのようなエンディングと厳かなアンコールという流れになっている。しかし必ずしも全ての曲がこのコンセプトに沿って収録されているのではないのは、「Lovely Rita」や「When I’m Sixty Four」「Within You Without You」などを聴いてもわかる。乱暴に言えば冒頭の数曲とリプライズ以降だけがコンセプトに即し、それらに挟まれた楽曲は無関係であるともいえる。コンセプトらしきものを挙げるとしたら、それは全体を覆う曲調、複雑な作業を経た音色にあるのではないだろうか。このような雰囲気は次のマジカルにおいても残り香として感じる事が出来る。敢えて言うなれば、サイケな世界観を具現化し時代に定着させた象徴が、このアルバムのコンセプトと言える。アルバムの発表は1967年6月であるが、レコーディングは1966年12月頃から始められた。最後のツアーが8月なので、3か月の休暇をとった後のレコーディングである。4月から6月にかけて『リボルバー』をレコーディングしている事を考えると、ツアーを挟んでいかにこの時期の創作意欲が高かったを伺い知る事が出来る。本作は、このアルバム『サージェント・ペパーズ』のレコーディング・セッションを収録したタイトルである。本作はそのVol.1である。

シングルでリリースされた両A面の内の1曲で、サージェントの楽曲と同時期に収録されている事から、一連のレコーディング・セッションとして収録されている。リリースはアルバムに先立つこと1967年2月である。同一の楽曲がデモの段階から完成に至るまでここまで多くのテイクが残存しているのも珍しい。それくらい複雑かつジョンが推敲を重ねた証なのであろう。当初「It’s not Too Bad」と仮題されたデモ音源は、1967年10月映画『How I Won The War』の撮影中にスペインでレコーディングされたものである。楽曲の骨子は既に完成しており、あの美しいメロディはこのようなシンプルな演奏でより際立っている。続いて1966年11月ケンウッドの自宅に場所を変え、エレクトリック・ギターによりデモ音源が収録されている。歌詞は若干異なるものの、ほぼ完成しており、ヴォーカルもダブル・トラックで収録している。最終バージョンのように「Let Me Take You Down♪」から始まる構成になるのはまだ先の事である。興味深いのはディスク1トラック22と23である。新しい試みとして導入したメロトロンを試行錯誤している様子が収録されている。いかに効果的に使用するかを探るため、プワァ~という音色をいろいろと試しているようだ。



さて、一連のレコーディング・セッションから、いよいよアルバム収録曲の音源である。アルバム冒頭を飾るハードなタイトル曲のレコーディングは1967年2月1日から始まった。ウォーム・アップから始まり、当初からドラムとギターを前面に出したロックを志向した楽曲で、後に「オー・ダーリン」でも行なわれたように、ポールは意図的に枯れ気味の発声で歌っている。エンディングは「With A Little Help」に繋げられる事が決まっていたため、あえてエンディングまで完奏するのを放棄しているような感じである。サーカスっぽいイントロに加えハードなボーカル。しかしポールはさらにもう一味加えたかったようで、ディスク3トラック16では甲高いギターを重ねている。ディスク3トラック18はスタジオのライブラリーにあった、あのイントロで使用された喧騒のSEである。なんと全長2分20秒もの長さでノーカットで収録されている。


さて本作のハイライトのひとつがこのルーシーのセッションであろう。幼いジュリアンの描いた絵からジョンが着想を得て作曲された幻想的な楽曲である。テイク1は別ボーカルでジョンはいくぶん平坦に歌っている。声そのものにエフェクトが既にかけられている事が伺える。サビのコーラス部分はまだ未収録でカラオケになっている。エンディングが注目で、最終的にフェードアウト処理される部分がきちんと最後まで(といってもいい加減な終わり方だが)収録されている。WITH A LITTLE HELPがトラック毎に収録されていたのに対し、ジョンは旧来のレコーディング法を好んでいたようで、何度も歌い直したテイクがこのように残されている。ポールの野太い声でタイトルを繰り返すサビのコーラス部分は結局テイク8まで登場せず、ずっと後にレコーディングされたものであろう。ディスク4トラック20は映画「イエローサブマリン」に登場したジェレミーが歌っているテイクである。




『サージェント・ペパーズ』が『サージェント・ペパーズ』になるまでに、メンバーの間では『ONE DOWN, SIX TO GO』という仮題で呼ばれていた。本作はそれに因んでタイトリングされている。初登場音源を数多く含むビッグ・プロジェクトで、実にディスク10枚分を費やして網羅している。本作はその前編である。レコーディングの入口となった「ストロベリーフィールズ」のレコーディングから「She’s Leaving Home」までのスタジオ・セッション音源を収録している。美しいピクチャー・ディスク仕様の永久保存がっちりプレス盤。

September – November 1966, SANTA ISABEL, SPAIN
“It’s Not Too Bad” Session 1
01. Tuning
02. Take 1
03. Take 2
04. Take 3
05. Take 4
06. Take 5 breakdown

“It’s Not Too Bad” Session 2
07. Take 6 – breakdown
08. Take 7

November 1966, KENWOOD, UK
Demo Session 1
09. Guitar overdub rehearsal
10. Guitar overdub
11. Demo playback
12. Vocal overdub
13. Guitar rehearsal / Playback snippet

Demo Session 2
14. Take 1 breakdown
15. Take 2 breakdown
16. Take 3 breakdown
17. Take 4 breakdown
18. Take 5 breakdown
19. Take 6 breakdown
20. Take 7
21. Take 8
22. Mellotron rehearsal on Takes 3-6
23. Mellotron overdubs on Take 7

November 24, 1966
24. Rehearsal
25. Take 1 Single vocal
26. Take 1 Vocal Overdubs
27. Take 1 ADT unused fragment

November 28, 1966
28. Take 2
29. Take 3 breakdown
30. Take 4

November 29, 1966
31. Take 5 breakdown
32. Take 6
33. Rehearsal

Overdubs on Take 6
34. Electric Guitar overdub
35. Mellotron and Bass SI #1
36. New single vocal track
37. Mellotron and Bass SI #2

38. Take 7 remix from 4-track
39. Take 7 reduction
40. Take 7 RM3
41. Take 7 Acetate

December 8, 1966
42. Take 23
43. Take 24

December 15, 1966
44. SI onto Take 25 (edit of Takes 15 & 24)
45. SI #2 onto Take 25
46. Take 26 w/single vocal SI
47. Take 26 w/two vocal tracks
48. Take 26 RM9

December 21, 1966 MIXING & MULTITRACKS
01. SI Vocals + piano onto Take 26
02. SI Vocal #2 onto Take 26
03. Takes 15, 24 & 26 multitrack 1
04. Takes 15, 24 & 26 multitrack 2

December 22, 1966 MIXING
05. Take 7 + 26 EMI Acetate

December 29, 1966
06. Take 6
07. Pianos SI onto Take 6

January 6, 1967
08. Take 8 fragment
09. SI Overdubs onto Take 8

January 9, 1967 Overdub Session
10. Warm Up
11. Piano rehearsal
12. Flutes & Flugelhorn Rehearsal
13. Take 9 playback & Piano Overdub #1
14. Take 9 playback & Piano Overdub #2
15. Take 9 Flutes & Flugelhorn SI

January 12, 1967
16. Oboes & Trumpets SI onto Take 9
17. Take 9 single lead vocal & Oboes
18. RM8 w/double tracked vocal

January 17, 1967
19. Oboe & Piccolo instrumental
20. RM9
21. RM10
22. RM11
23. True Capitol Promo 45” RM11

January 25, 1967 MIXING & MULTITRACKS
24. Paul single tracked vocal
25. Paul double tracked vocal
26. ADT, Bass and extra piano
27. Flutes, extra trumpets & horns
28. Alternate Channel Mix

February 1, 1967
01. Warm Up (unedited)
02. Take 1 (unedited)
03. Take 2 (fragment)
04. Take 9
05. Take 9 (4-track reel)

February 2, 1967
06. Free Now
07. Alternate vocal
08. Free Now playback (unmixed)
09. Isolated playback chat unmixed
10. Isolated playback chat clean
11. Main Vocal SI
12. Paul & John vocals SI
13. George Vocal SI
14. Take 9 final vocals SI
15. Mixdown Take 10 Acetate

16. Harrison Guitar SI onto Take 10
17. Horns SI onto Take 10

18. Atmosphere unedited tape
19. Atmosphere SI (4-track reel)
20. Take 10 Remix 8

FOUR TRACK REEL from Take 10
21. Backing Track
22. Vocal Track Take 20

23. Bass
24. Vocals
25. Instrumental
26. George Martin on mixing desk

March 29, 1967
27. Take 1 (breakdown)
28. Take 2
29. Take 10 (4-track reel)
30. Lead Vocal SI
31. Backing Vocals #1 SI (4-track reel)

March 30, 1967 OVERDUB SESSION
32. Timpani and snare Rehearsal
33. Timpani and Bass SI (4-track reel)
34. Lead Guitar SI
35. Backing vocals #2 & Hammond SI (4-track reel)
36. Take 11 (4-track reel)
37. Atmosphere Intro

38. Drums
39. Bass and Tambourine
40. Piano
41. All vocals
42. Instrumental

March, 1967
01. Take 1
02. Take 2
03. Take 3
04. Take 4
05. Take 5
06. Take 6
07. Take 7 piano + tamboura SI
08. Take 8 reduction from Take 7

09. Bass
10. Lead Guitar
11. John vocal + Paul & John backings
12. John second vocal & backing SI
13. Paul second backing vocal SI
14. John third vocal SI
15. Final Vocal Mix unedited
16. RM11

17. Drums
18. Take 6 Monitor Mix
19. Vocal Pitch

20. RM20 1968

March 9, 1967
21. Take 1 Warm Up
22. Take 1
23. Unknown Take breakdown
24. Take 7 w/rough vocal guide

March 10, 1967 OVERDUBS
25. Drums SI
26. Bass SI
27. Take 12 Tamboura & Guitar SI

March 21, 1967
28. Take 14 Mixdown of take 12

March 23, 1967 OVERDUBS
29. First vocal inserts
30. Paul & John vocal track #1
31. Paul & John vocal track #2

March 23, 1967 OVERDUBS
01. All vocals
02. Electric Guitars & Congas
03. Electric Pianos & Congas
04. Take 15 Remix

February 9, 1967
05. Take 1

Mixdown Take 1 onto Take 2 06. Rehearsal
07. Take 3

Overdubs onto Take 2
08. New Vocal insert SI
09. Second vocal SI
10. All vocals & Backing V SI
11. Electric Guitar SI

February 21, 1967
12. New backing track (Harpsichord, bass and drums SI)
13. Unknown RM Mix

14. Backing Vocals
15. Instrumental

March 17, 1967
16. Take 1
17. Take 6

March 20, 1967
18. Violins (4 track tape)
19. Cellos (4 track tape)

Reduction Take 1 into Take 9
20. Vocals Multitrack tape
21. Main Vocals (4 track tape)
22. Backing Vocals SI (4 track tape)
23. Take 9 (4 track tape)
24. RM1 with ADT

April 17, 1967
Stereo Remix 6 & Edit -MULTITRACK
25. Harp, Violas and Violins
26. Harp, Cellos & Double Bass
27. RS backing track
28. Vocals onto Edited Take 9

Valkyric Records. VAL-001

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