Beatles / One Down Six To Go Vol 2 /  5CD Wx Slipcase

Beatles / One Down Six To Go Vol 2 /  5CD Wx Slipcase / Valkyric Records

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 a song that John made after inspiration of the circus poster, has become a theme that is consistently consistent with the album concept. For Westerners, circus suddenly appears in the endless everyday life, and it is like a non-everyday symbol departing from unnoticed. It is a masterpiece that embodied the atmosphere of the different world with John’s unique world view. At first, I will take over, but John often stops making mistakes repeatedly. In the studio there is also recorded how Paul is expressing opinions. Taking on the incomplete backing yet, the vocalist John’s singing is full of force and wonderful, this is exactly the charm of live songs. While the back is simple with the tone of the push organ organ and the drum, the song world has already been completed and it is only adding “chaos” from the first stage. There are many interesting take, such as John singing with La la la ~ part of the interlude. And since John is re-singing vocals for each take, it’s all about listening to different vocals. Disc 1 Tracks 10 and 11 are sound effects of a circus. I am surprised to see something like this.

Perhaps George’s Indian music which is regarded as a serpent in the album. It is recorded from the state of the rehearsal of the recording which was done from March 15, 1967. It seems that George practicing inserting a provisional song to Indian orchestra. It is a song that is far different from what was released, not sure if George’s temporary song is lyric or mantra. Although instruments are indian instruments, as a recording method as usual, songs are completed by repeatedly sitar, biori and others. The disc 1 track 30 is the greatest listening place. It is a single vocal of a live song whose effect is not applied to George’s vocals. I sing like a conversation rather carefully.

A young Paul is a song of a melody that is a heartwarming depiction of a happy old age that would have been saved in the future as he grew older. Currently Paul has exceeded this age, but at the age of 64 he did not do anything in particular, only played once at a private party on the apple ‘s 64th birthday. In the recording that took place on December 6, 1966, comments for fans and clubs’ Christmas records are recorded before they start songs. It seems that the disc 2 track 6 and the tempo are somewhat slow, and Paul’s vocal seems to be elongated, but in reality this is the correct pitch, and what is released is recorded with the pitch intentionally raised . Paul’s vocals are another take, and it is often well-known that singing together with something other than singing together is another way to sing. Take 3 has no chorus, but a session for overdub was held on December 20, nearly completing there. Track 8 is a low tone clarinet track that is a feature of songs.

A song was made because the name of the female police officer who was in charge when Paul was asked for a parking violation was Rita. In the recording on February 23, 1967, it is not a thing to rehearse yet, and it is beginning with a miscellaneous performance. It is interesting that John is enthusiastic about John ‘s coming, despite Paul’s songs. There is not yet an intro “Aaa ~”, and on track 16 you can see that Paul intentionally sings with a youthful and high-pitched voice. It is felt the magnificence of Paul as a vocalist where you use various voices differently depending on the song, and also convince that it is all Paul’s voice. With a singing voice like fumbling with a single vocal, you can listen to ad lib · vocals in the ending of the song. When it becomes track 17, an effect is added to the vocal and it becomes close to what was released. For the first take recorded to March 7, 1967, while taking it down, “Aaa -” has been added at the beginning. Track 19 is all vocal tracks including chorus. Track 20 is the piano of interlude by George Martin.

First recorded is a demonstration sound source by John alone. It is a really early version of the same song. Recording will start from February 8, 1967. At the stage of take 1 it is an intense hard rock like arrangement. Although the final version also leaves that atmosphere, it is a song that can not be made except for John whose guitar riff is impressive. Disk 2 Track 33 is a vivid version of single vocals. John is fantastic to sing without tinkering lyrics that stir up quickly. The truck 35 is a take overlapped with a brass section that produces noisiness. Disk 4 Track 4 is an effect sound of an animal effectively used in a song. As is well known, the barks are arranged in order of the plant chain. Here it is recorded with a length longer than one and a half minutes longer than the conventional one. And track 5 is an unedited version that does not surprisingly fade out. In the release version, the animal’s barks finished overlapping with the fade-out, where Paul and John’s ad lib / vocal continued indefinitely, and it was completely recorded as if two people were billed like “Hey Bulldog” .

It is a reply of the title song. Take 1 is like a rehearsal sound rather than a song, but you can see that the phrases you hear everywhere, the high-pitched bass sound of the intro, this is not wastefully used firmly in songs. It is interesting that track 12 is singing Paul pretty badly. The truck 13 is more rude with more loops, and it seems to tell rather than sing. Track 17 is a clear John voice chorus part. The track 18 is an effect of clapping and cheering by a sound effect. Perhaps it was recorded on the same tape of the library because it can also hear the crowd effect sound heard at the intro of the title song.

This “A Day In The Life” is the most time spent in the same song in this work. It is the biggest highlight of this work that you can understand virtually the process of making a song that gradually rises from take 1. In the session on January 19, 1967, recordings take from 1 to 4. Simple playing of only Akogi and piano, John’s vocal is surprised to have been completed, although it is simple of another take. The middle part by Paul’s hand is incomplete and no vocals are included, but the melody to be inserted is that of “A Day In The Life” without any doubt. The ending ends with piano succession and counting again, and of course there is no orchestra in it. This will start on January 30th and a middle Paul song will enter. Lyrics are incomplete just because they are in the stage of rehearsal yet, Paul can sing occasionally and can not sing. In the session on February 3, 1967, overdubbing of vocals and choruses Paul seriously sung was done.

And recording of the orchestra by the large household was done on February 10, 1967. First is the recording of orchestration in Paul’s middle part back to the second half of John again. I understand that Paul instructs the part which is instable and gradually rising up repeatedly over and over. It will be that I have added a melody, added a bass, added a cymbal, added an accent, repeated trial and error, any number of patterns and finally picked the best one. Take 13 has also inserted the middle part of the orchestra and Paul, boasting almost the same perfection as the release version. The only thing that is different is that there is no ending “Jar – run”. It seems that it is not decided how to finish ending this song, and discussion is done in the studio. Originally it was suggested to end with Humming called Auuuun and you can see that he practiced repeatedly with Auuuun many times. Disk 4 Track 18 is recorded as a version that finishes with humming like this Au-Uuun, but it can not be done anymore. It is unlikely that Hamming Ending was dismissed.

The orchestra was convened again on 22nd February and recording was done. Basically I did work on John’s vocals and Hamming Ending was decided to be dismissed, but recording including orchestra was done without deciding the ending. So when was the ending being conveyed to that present decided? That was still this day. At the end of the disc 4, only the ending part, only the part where the piano and the orchestra do with Joe are recorded by Paul’s count from take 1 to 9. Indeed, as the last piece to complete a song, edit this ending part and finally complete it.

It was recorded in Sargent · Peppers’ recording session and it was recorded in Yellow Submarine. It is due to George, and the completed version is psychedelic and finished in a glittery song. Take 3, recorded on February 13 and 14, 1967, is a very simple song by George singing back only on drums and basses, and it has become completely undecorated from the original song. In the recording on April 20th, the sound of the organ is added and the impression is much different. Disk 5 Track 9 is a vocal version that became a bump. Clearly George’s singing voice is dark, it is a creepy way of singing as if listening to words of curse. It seems as if George’s dissatisfaction with the actual Northern Songs is included as a grudge. Truck 10 is another version of the vocalist that once again got stuck. The tempo is quite slow, better than track 9, but the smell of curse has not been eliminated. It is dark. The impression differs so much by the singing turning point that there is no bright and light atmosphere of the release version.

From here it contains sound sources related to Sgt. Peppers. First recorded is the radio program that appeared on March 20, 1967 when the recording was over, John and Paul replied to Brian Matthew’s interview. Bryan Matthew is asking how the next album will go soon, as it is known that his appearance departs from the live activity, its appearance has changed and he is concentrating on recording new albums. Paul answers “folk rock” and so on. Next time, the radio program of the broadcast on May 20, 1967 was recorded and broadcasted after the release of the album. With the Kenny Everett hosted, the Beatles member himself adds commentary while listening to the songs of the album. And lastly it contains four kinds of luxurious version of the radio spot of the 50th anniversary released in 2017.

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 the second part. It records studio session sound sources from “Mr. Kite” recording which is also called the deepest part of the album to “A Day in the Life”, and the same period “Only A Northern Song”. 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。







本作における同一曲で最も多くの時間が割かれているのが、この「A Day In The Life」である。テイク1から徐々に盛り上がっていく曲の制作過程が如実に理解出来る本作最大のハイライトである。1967年1月19日のセッションでは、テイク1から4までをレコーディングである。アコギとピアノのみのシンプルな演奏、ジョンのボーカルは別テイクのシンプルなでありながら既に完成されているのに驚かされる。ポールの手によるミドル・パートは未完成であり、ボーカルも入っていないが、挿入されるメロディはまごうことなき「A Day In The Life」のそれである。エンディングは再びピアノの連打とカウントで終わっており、当然ながらオーケストラは入っていない。これが1月30日になり始めてミドルのポールの歌が入る。まだリハーサルの段階なだけに歌詞は未完成で、ポールは時折笑って歌えなくなっている。1967年2月3日のセッションでは、ポールが真面目に歌い直したボーカルとコーラスのオーバーダビングがなされている。


再び2月22日にオーケストラが招集されレコーディングが行なわれた。基本的にジョンのボーカルに被せる作業を行ない、ハミング・エンディングは却下だと決まったものの、エンディングを決めないままオーケストラを含むレコーディングが行なわれている。ではあの現在に伝わるエンディングはいつ決められたのか? それはやはりこの日であった。ディスク4の最後は、このエンディング部分のみ、ピアノとオーケストラがせーのでジャーーーーンとやる部分のみを、ポールのカウントでテイク1から9まで収録している。なるほど、曲を完成させる最後のピースとして、このエンディング部分を編集し、やっと完成するのである。



『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。本作はその後編である。アルバムの深層とも言うべき「ミスターカイト」のレコーディングから「ア・デイ・イン・ザ・ライフ」、そして同時期の「オンリー・ア・ノーザン・ソング」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。

February 17, 1967
01. Take 1 (breakdown)
02. Take 2 (breakdown)
03. Take 3 (breakdown)
04. Studio Chat
05. Take 4
06. Take 7
07. Mixdown of Take 7
08. Take 8
09. Take 9 Vocal SI w/ADT

February 20, 1967
10. Effects Tape process
11. Final Effects Tape

March 28, 1967 Overdubs
12. Organ & Guitar solo SI
13. Bass Harmonica & Organ #2 SI

March 29, 1967 Overdubs
14. Tape Effects SI #1
15. Tape Effects SI #2
16. Tape Effects SI #3
17. Organ SI
18. Tape Effects SI #4

March 31, 1967 Overdubs
19. Uknown Mono Remix

20. Drums
21. Bass
22. Instrumental

March 15, 1967
23. Rehearsal #1
24. Rehearsal #2
25. Take 1

March 22, 1967 Overdubs
26. Take 2 Dilruba SI

April 3, 1967 Overdubs
27. Violins and Cellos SI
28. Sitar SI
29. Remix of Take 2
30. Pure Vocal track SI
31. ADT Vocal effect

32. Control Room
33. Dilruba & Swardmandala
34. Tabla & Tamboura

December 6, 1966
01. Messages For Radio London
02. Messages For Radio Caroline
03. Take 1 (partial)
04. Take 2
05. Piano recording

December 8, 1966
06. Vocal SI on Take 2

December 20, 1966 overdubs
07. Take 3

December 21, 1966 overdubs
08. Clarinets SI on Take 4

09. Bass and Drums
10. Vocals
11. Backing vocals & Bell
12. Backing Track Mix

February 23, 1967
13. Take 1 (partial)
14. Take 8
15. Take 9 Bass SI

February 24, 1967
16. Take 9 vocal SI
17. Vocal SI #2

March 7, 1967
18. SI on Take 11
19. All vocal tracks

March 21, 1967
20. GM Piano SI

21. Drums
22. Bass
23. Acoustic Guitars
24. Pianos & Combs
25. Instrumental

26. Corn Flakes Commercial 1967

Jan-Feb, 1967 Home Recording
27. Demo #1 (breakdown)
28. Demo #2

February 8, 1967
29. Take 1
30. Take 2 (partial)
31. Take 8

February 16, 1967
32. Bass SI
33. Take 8 Vocal SI
34. Take 9 ADT Vocal

March 13, 1967
35. Brass SI onto Take 10

March 28, 1967
01. Guitar Solo SI
02. Take 11 Vocal SI
03. Take 11 Backing Vocals SI

March 29, 1967
04. Sound Effects RM20
05. Unedited Take 11

06. Drums
07. Guitars
08. GM Mixing Desk
09. Instrumental

April 1, 1967
10. Take 1 (partial)
11. Take 2 (breakdown)
12. Take 5 w/Bass SI
13. Take 8 (unedited)
14. Take 9 (unedited)

15. Bass SI
16. Final Track
17. Vocals
18. Sound Effects
19. Remix 9

20. Instrumental

21. Edited 8 Track Version

January 19, 1967
22. Take 1 (unedited)
23. Take 2
24. Take 3 (intro only)
25. Take 4 (partial w/voiceover)
26. New Vocal onto Take 4
27. Take 4 SI
28. Piano SI #1
29. Piano SI #2

January 20, 1967
30. Reduction Take 6
31. Take 6 Drums, Bass & Vocal SI

January 30, 1967
32. RM1 from Take 6

February 3, 1967 Overdubs
33. New Piano & Maracas
34. Pianos & Maracas SI(4 track tape)
35. New Bass & Drums SI (4 track tape)

February 3, 1967 Overdubs
01. New Paul vocal & backings
02. Vocals SI (4 track tape)
03. Take 6 Four Track Remix
04. Control Room Multitrack

February 10, 1967 ORCHESTRA
05. Studio Chat
06. Middle Eight
07. Orchestra Recording #1
08. Orchestra Recording #2
09. Orchestra Recording #3
10. Orchestra Recording #4
11. Studio Atmosphere
12. Mixdown of 4 track tape
13. Take 7
14. Take 8- Edit piece
15. Take 9- Edit piece
16. Take 10-Edit Piece
17. Take 11-Edit Piece
18. 4 track Tape Remix

February 22, 1967
Stereo Remix
19. Final Orchestra Ensemble
20. RS 1
21. RS 2
22. RS 3
23. RS 4
24. RS 5
25. RS 6
26. RS 7
27. RS 8
28. RS 9

Piano Edit Piece
29. Take 1
30. Take 2
31. Take 3
32. Take 4
33. Take 5
34. Take 6
35. Takes 7 & 8
36. Take 9

Separate Pianos
37. John
38. Paul
39. Ringo & Mal

40. George Martin

February 23, 1967
01. Stereo Remix Take 12

02. GM Control Room #1
03. GM Control Room #2
04. The Record Producers
05. Bass, Maracas, Drums, Tambourine
06. Instrumental
07. Alternate Mix 2015 missing piano note

February 13 & 14, 1967
08. Takes 3 & 12

April 20, 1967
09. First Vocal
10. Second Vocal + new bass and trumpet
11. Vocal Mix + extra vocals + trumpet
12. Glockenspiel Mix
13. Trumpet + bells

November 15, 1967
14. RM6

March 20, 1967 EMI STUDIOS, LONDON
15. Paul & John interview with Brian Matthew

May 19, 1967 CHAPEL STREET, LONDON (broadcasted May 20, 1967)
WHERE IT’S AT with Kenny Everett
16. Introduction with Paul & John
17. Ringo talks
18. John introduces Lucy
19. John talks
20. Sgt Pepper interlude
21. Kenny Talks
22. Paul talks
23. Kenny talks
24. Paul talks
25. Paul ends the program

26. Unbroadcasted #1
27. Unbroadcasted #2
28. Unbroadcasted #3
29. Unbroadcasted #4

Valkyric Records. VAL 002

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