quinta-feira, 24 de junho de 2010



Do you all remember the album The Beatles were supposed to release in 1969/1970 called HOT AS SUN? Well, it was never released officially, but the tapes were archived and only NOW they were revealed in the form of 23 songs, with different nuances and unedited songs like : ''Oh! I Had A Dream'', ''Lullaby For A Lazy Day'', ''Madman'' & ''Zero Is Just Another Even Number'' amongst others! Yes, you've read it right, finally this BOX will be revealed by the FAB PRODUCTIONS guys. Along with these so rare tapes, we compiled the ultra rare LADY MADONNA reconstructed tapes including NEVER HEARD BEFORE versions of Across The Universe, Hey Bulldog and the very Lady Madonna sessions. Plus, the all the ALL THINGS MUST PASS takes THE BEATLES recorded in 1969 but never released and a NEVER RELEASED BEFORE NEW VERSION OF ''THE BALLAD OF JOHN & YOKO'' taken from a virgin 45 New Zealand single in impecable shape! And If It was not enough, as a bonus, you'll get a HIGH DEFINITION HD-DVD with 70+ REMASTERED & RESYNCHED video clips of The Beatles, REMASTERED & RESYNCHED mind you, for real! TO BE SEEN IN A LCD BIG SCREEN TV! All the information is on the 8-page-booklet in FULL DETAIL with never seen before photos and lucious packaging!
1º CD - HOT AS SUN unreleased album
2º CD - ALL THINGS MUST PASS alternates and outtakes WITH The BEATLES.
3º CD - LADY MADONNA RECONSTRUCTED ALBUM with the never heard before 45 SINGLE of ''The Ballad Of John & Yoko''
4º HD-DVD (Region 0) - More than 70 Beatles video clips in HIGH DEFINITION remastered and resynched!!!!!


01) MAXWELL'S SILVER HAMMER - The outtake from Anthology 3.
02) DON'T LET ME DOWN - Multiple versions from the Get Back sessions.
03) HOT AS SUN - The only circulating Beatles version of this early McCartney composition. This is a sloppy take from the Get Back sessions, with Paul mumbling some sort of lyric.
04) JUNK - A very, very brief version from the Get Back sessions, with John and Paul singing the lyrics in mock-French.
05) POLYTHENE PAM - The lone attempt from the Get Back sessions. Very sloppy, but intriguing during the moments when John is able to remember the song.
07) I SHOULD LIKE TO LIVE UP A TREE - No Beatles song ever existed... this was a poor guess at the title of what was actually "Octopus's Garden", as stated in a music mag before the release of Abbey Road. For this album, however, JunkHeadz used an appropriate GB-era improv resembling "One After 909."
08) ZERO IS JUST ANOTHER EVEN NUMBER - The liner notes of HAS tell the listener to "pretend" that this song exists, as JunkHeadz obviously wasn't willing to even try faking it. A useless track. (I should point out that MY version of the album does have an actual "Zero..." song, but I refuse to discuss what exactly it is at the moment. :-P)
09) WHAT'S THE NEW MARY JANE - As if this song couldn't get any worse, here's an Abbey Road-era version, with John and Yoko (and either Harrison or Mal Evans) adding an extra layer of screams and chaos. Just painful. As I understand it, this piece almost appeared in AR in place of "She's So Heavy".
10) DIRTY OLD MAN - Rolling Stone's title for what was actually "Mean Mr. Mustard." Heard here is one of the Get Back-era attempts, followed by, for some reason, the officially released version.
11) PROUD AS YOU ARE - Another title... to fill the gap, JunkHeadz offers us the entirety of Paul's "Song Of Love"/"As Clear As A Bell" improvs from the Get Back sessions.


13) PORTRAIT OF MY LOVE - What the hell?? Allegedly, the Beatles recorded this song in mid-1969... but since that doesn't seem to exist, here's Matt Monro's original.
14) MY KIND OF GIRL - Another Matt Monro track that the Beatles probably never covered. Tacked on the end are snippets of Paul's "Oo You" - JunkHeadz was apparently trying to show the similarities in its lyrics with Monro's song. They had a point, oddly enough.
15) SUICIDE - No idea what this is doing here, as I don't think the Beatles ever considered recording this. This Paul composition is heard here in two forms - a brief version from the Get Back sessions, then a hissy but wonderful mid-Seventies
demo with Paul on piano. A version of this (as yet uncirculated) was recorded for "McCartney",
but unused, save for a brief snippet at the end of (surely enough) 'Hot As Sun'/'Glasses'. Great
song, but with disturbingly grim lyrics about an abusive relationship. This was written with
Sinatra in mind... Frank refused to sing it.
16) YOU KNOW MY NAME - Not the typical single version, or even an extended version,
but a short rendition from the Get Back sessions, with John on
electric piano.
17) BECAUSE - Just a brief version played by John on acoustic guitar. Strangely,
JunkHeadz stuck his "Happiness Is A Warm Gun"-esque musical doodle from the Bed-In
onto this track as well.
18) ACROSS THE UNIVERSE - This seems to be some sort of acetate mix,
resembling the 'wildlife version', with a heavy delay on John's vocals. JunkHeadz felt it
necessary for some reason to fade this out midway through...

DISC TWO - Tracks 01 to 24 - All Things Must Pass The Beatles alternates 1969 sessions.

During The Beatles' Get Back sessions in January 1969, this was one of many songs
the group rehearsed to be part of their new album. As the sessions progressed, the song
was pushed to the side and never picked up again by the band. The title phrase "all things must pass" is a quotation of Jesus from Matthew 24:6-8 in the Bible.
After the Get Back project was abandoned, Harrison recorded a solo demo of the song on multi-track tape on 25 February 1969. Harrison recorded two takes, then added extra guitar onto the second. This version was subsequently released in 1996 on The Beatles' collection Anthology 3.
The song was never formally recorded by The Beatles by the time of their break-up, and it was first released on Harrison's All Things Must Pass album in 1970.
The song underwent a number of small changes from when it was first written in late 1968. The line "a mind can blow those clouds away" was originally written as the more literal "a wind can blow those clouds away," but bootlegs from the January 1969 Beatles sessions reveal John Lennon suggesting the change to "mind" to include a bit of "psychedelia" in the song. Perspective on one line was slightly changed from "It's not always been this grey" (with The Beatles) on the demo to "It's not always gonna be this grey" (on his own) on the final recording . . .


Jan 12th 1968 – EMI Studio Bombay, Time Unknown

1. The Inner Light – Take 5
The backing track was recorded in stereo with Indian musicians in Bombay.

Feb 3rd 1968 – Studio Three, 2:30-6:00pm

2. Lady Madonna – Take 1 or 2
The Anthology 2 version uses a different take for the backing; subtle differences in the piano and drum parts can be heard.

3. Lady Madonna – Take 3
Paul and Ringo have another go; this is the take they used on the released version.

Feb 3rd 1968 – Studio Three, 7:00pm-1:30am

4. Lady Madonna – SI onto take 3
Paul overdubs bass, Ringo adds more drums, and John and George play the guitar riff together through the same amp.

5. Lady Madonna – SI onto take 3
Paul records his lead vocal.

6. Across the Universe – Take 2
The basic take derived from the Anthology 2 version.

7. Across the Universe – SI onto take 2
Overdub of lead vocal and another guitar.

8. Across the Universe – SI onto take 2
Table harp overdub.

Feb 4th 1968 – Studio Three, 2:30-5:30pm

9. Across the Universe – Take 7
A basic version of the released take; John may have recorded his vocal live which would explain the extra bars in the first two verses.

Feb 4th 1968 – Studio Three, 8:00pm-2:00am

10. Across the Universe – SI onto take 7
Paul “sabotages” John’s song by recruiting two of the Apple Scruffs to sing background vocals. This “performance” was followed by a reduction to take 8.

11. Across the Universe – SI onto take 8

12. Across the Universe – Hums Wild stereo

Feb 6th 1968 – Studio One, 2:30-8:00pm

13. The Inner Light – SI onto take 6 (tape copy of stereo take 5)
George double tracks his lead vocals to the stereo backing recorded in Bombay.

Feb 6th 1968 – Studio One, 9:00pm-2:00am

14. Lady Madonna – SI onto take 4

15. Lady Madonna – SI onto take 5
Following another reduction and the recording of “real” brass, the backing vocal sections were punched in on the same track.

Feb 8th 1968 – Studio Two, 2:30-9:00pm

16. The Inner Light – SI onto take 6
John and Paul add backing vocals to the last line.

17. The Inner Light – Mono mix RM4

18. Across the Universe – SI onto take 8

Feb 8th 1968 – Studio Two (Control Room Only), 10:00pm-12:15am

19. Across the Universe – Mono mix RM2

Feb 11th 1968 – Studio Three, 4:00pm-2:00am

20. Hey Bulldog – Take 10

21. Hey Bulldog – SI onto take 10

22. Hey Bulldog – SI onto take 10
John and Paul add lead vocals.

23. Hey Bulldog – SI onto take 10
John doubles his vocal in the choruses and outro.

24. Hey Bulldog – SI onto take 10

25. Hey Bulldog – Mono mix RM2

Feb 15th 1968 – Studio Three (Control Room Only), 4:30-6:00pm

26. Lady Madonna – Mono mix RM10

27. The Ballad of John & Yoko - Alternate version from Acetate (UNRELEASED)

Thanks to the owner of this disc, who shall remain omnibus, and with his permission, we are happy to present a direct transfer of the acetate of TBOJ&Y that has been discussed heavily, but not heard by many yet.

There is a Japanese CD containing a version of this recording, messed with by someone else, who decided it was OK to add compression to it. They did not remove the clicks and thumps, though, and the patch to cover an unplayable area of the disc was pretty rough.
The recording you are about to hear is not from any CD. It is a direct transfer from the actual acetate.

There remains some low-frequency garbage underneath that we could not get rid of without affecting the music, so we had to leave it there. It's not obtrusive, but you'll hear it as it goes by. There is a patch from the released mix to cover the line "eating chocolate cake in a bag" where the acetate was damaged and would not play. This is where you will notice that the commercial mix is vastly different from the acetate. The panning is different, and among other things, the maracas are way up in the mix here. At the end, it cuts off abruptly, again, due to damage. All that's missing is the decay of the final chord and Paul's drum noises.