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| Turn Me On, Dead Man - Front Cover | Turn Me On, Dead Man - Rer Cover |
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| Turn Me On, Dead Man - Inside Picture | Turn Me On, Dead Man - Inside Picture |
| Label | Vigotone |
| Catalogue No. | VIGO 178/179 |
| Country of origin | |
| Release date | 1999 |
| Total time | Disc 1 - 60:02 Disc 2 - 57:30 |
| Comments: | A Landmark Bootleg Double C.D. Essential. See it .... BUY IT. |
| No | Tracklisting | Notes | Time |
| 1 | From Me To You | This track is the released take of the Beatles' third single, yet is featured here in the closest form yet to a stereo mix of the mono single version, with the harmonica in place over the intro. it features the tail-end of Paul's "1-2-3" count-off, but does not include the introductory "Da-Da-Da"'s. | 1:56 |
| 2 | From Me To You | A Barrett remix of the previously available stereo version, which is sans the harmonica introduction, but features the "Da-Da-Da"'s ! | 1:56 |
| 3 | Thank You Girl | The B-side of "From Me To You" is included in a stereo mix which is similar to the mono single version, which featured fewer harmonica overdubs in comparison to the next version. There is also a bit of studio noise at the beginning. | 2:06 |
| 4 | Thank You Girl | A long-awaited mix, an "unechoed" stereo version with harmonica over the middle-eight as well as the intro and outro. | 2:02 |
| 5 | One After 909 | Take 2 of a series of five takes. George was obviously having problems with the solo here; listen to John's comment as the song fades out. |
2:48 |
| 6 | She Loves You | RS1 - Geoff Emerick's First Stereo Remix from 8th November 1966 | 2:22 |
| 7 | She Loves You (RS2 Version 2) |
RS2 - Geoff Emerick's Second Stereo Remix from 8th November 1966 | 2:25 |
| 8 | This Boy | RS15 - Abbey Road Engineer, Peter Bown's stereo mix of 10th November 1966 | 2:25 |
| 9 | I'm A Loser | Take 8 - An alternate stereo mix of the Beatles For Sale LP track prepared by Barrett in 1982 for the Abbey Road presentation. | 2:23 |
| 10 | Mr. Moonlight | Take 4 - This take was indeed issued on Anthology 1 in 1995, but in a compressed, extremely narrow stereo mix. This is a superior mix by Barrett, which is more faithful to the stereo mixing style of 1964. | 2:32 |
| 11 | What You're Doing | Take 11 - A truly exciting, never before issued item, this take was temporarily marked "best" until the Beatles re-made the song on October 26. It's a bit rough around the edges, but features a slate call, studio chat, full vocals from Paul and John, and includes a "false ending" which was not utilized in the final version. | 2:03 |
| 12 | That Means A Lot | Take 1 | 2:47 |
| 13 | That Means A Lot | Edit piece | 0:25 |
| 14 | That Means A Lot | Take 2 | 2:26 |
| 15 | That Means A Lot | Take 20 | 1:13 |
| 16 | That Means A Lot | Take 21 | 2:09 |
| 17 | That Means A Lot | Take 22 and Take 23 (breakdowns) | 0:24 |
| 18 | That Means A Lot | Take 24 | 1:45 |
| 19 | That Means A Lot | "Just a test" said Paul. | 0:55 |
| 20 | Help | Take 8 (Instrumental) | 2:16 |
| 21 | Norwegian Wood | Take 1 | 2:08 |
| 22 | Norwegian Wood | Take 2 | 2:28 |
| 23 | 12 Bar Original | Take 1 | 0:33 |
| 24 | 12 Bar Original | Take 2 | 6:21 |
| 25 | Paperback Writer | Barrett remix made specifically for the Abbey Road presentation, with differences in placements of instruments and vocals immediately noticeable to those folks who take interest in such things! | 2:16 |
| 26 | Rain | Barrett remix made specifically for the Abbey Road presentation, with differences in placements of instruments and vocals immediately noticeable to those folks who take interest in such things! | 2:52 |
| 27 | Tomorrow Never Knows | Take 3 RM11 | 2:58 |
| No | Tracklisting | Notes | Time |
| 1 | Strawberry Fields Forever | Take 7 RM3 - COMPLETE with count-in ! | 3:10 |
| 2 | Strawberry Fields Forever | Take 26 RM9 - A rough John Lennon single-tracked vocal over the "orchestral version" (take 26) for the first time. All other mixes of this rendition which have appeared in the past have been in stereo, with no complete vocal existing on top of the track. | 3:08 |
| 3 | Penny Lane | Take 9 RM8 Another exciting discovery, the complete "oboe" version of "Penny Lane" as originally mixed down to mono after recording woodwind and brass overdubs for the track on the 12th of January. Paul took this mix home and realized it needed something else to make it complete, which ended up being a Bach trumpet solo which was recorded five days later. In 1995, a hybrid of the oboe and trumpet versions was mixed for Anthology 2, but the "oboe only" mix appears here for the first time, complete with some studio noise and a count-in at the beginning. |
3:06 |
| 4 | Penny Lane | Take 9 RM10 Along came David Mason and his Bach trumpet, and "Penny Lane" was mixed into mono and completed. Or was it? This mix, featuring a seven-note trumpet figure over the ending, is very close to the RM11 which was shipped to Capitol in the US immediately after its completion, and was used for the initial pressings of the promotional 45's for the song. However, the mix was improved upon on January 25, and RM14 is the one that was used from that point on. RM10 is included here in all of its mono glory. |
2:59 |
| 5 | Penny Lane | A stereo remix also prepared for the Abbey Road presentation, reflecting the final "non trumpet ending". | 2:59 |
| 6 | A Day In The Life | Stereo mix by Barrett, again for The Beatles At AbbeyRoad. It includes John's count-in and therefore, a clean guitar intro instead of the crossfaded Sgt. Pepper LP version. | 5:06 |
| 7 | Hello Goodbye | Stereo mix by Barrett, again for The Beatles At Abbey Road. | 3:21 |
| 8 | Lady Madonna | Stereo mix by Barrett, again for The Beatles At AbbeyRoad, which doesn't include any of the saxophone overdubs found on the issued mixes. | 2:13 |
| 9 | Hey Jude | Take 9 This particular performance of the Fab Four's most popular single was the soundtrack for a staple of Beatles movie marathons over the last 25 years: the clip of the Beatles rehearsing "Hey Jude" for the National Music Council of Great Britain's documentary, Music ! As this clip was also used in the Abbey Road presentation, Barrett found the multi-tracks for the rehearsal and mixed them into stereo to accompany the film. |
2:39 |
| 10 | What's The New Mary Jane | Take 4 (Less overdubs) One of two mixes produced at an October 14 mixing session. |
6:03 |
| 11 | Step Inside Love | Outtakes - These four "songs" were recorded during the session for The Beatles (The White Album) track "I Will", with only Paul, John and Ringo in attendance. A whopping 67 takes were recorded during the eight-hour session, but to alleviate the tedium, Paul very informally broke into the above tunes. "Step Inside Love" and "Los Paranoias" were combined on Anthology 3 in 1996, but were edited in comparison to their appearance here. "Step Inside Love" is, of course, a tune Paul gave to Cilla Black and who had recorded it a few months earlier. "The Way You Look Tonight" has never previously surfaced and is basically the tune of "I Will" with impromptu lyrics. "Can You Take Me Back" is a never-heard-before long version of the link track used between "Cry Baby Cry" and "Revolution #9" on The White Album. | 1:32 |
| 12 | Los Paranoias | 3:57 | |
| 13 | The Way You Look Tonight | 1:11 | |
| 14 | Can You Take Me Back? | 1:14 | |
| 15 | Rip It Up/Shake, Rattle And Roll | G.B.no. 26.28 - 26.31 The sessions described as "hell" by John Lennon, the dreaded Get Back / LetIt Be project, did produce some enjoyable musical moments. Most of them are collected on Vigotone's As Nature Intended and Get Back-The Glyn Johns Final Compilation, but this Barrett mixed medley of old rock'n'roll chestnuts is uncollected on either of those sets. |
2:02 |
| 16 | Kansas City / Miss Ann / Lawdy Miss Clawdy |
3:53 | |
| 17 | Blue suede shoes | 2:15 | |
| 18 | Medley: Cannonball Not Fade Away Hey Little Girl Bo Diddley |
G.B.no. 29.7 The first appearance of this Get Back / Let It Be track in stereo. A very loose rendition and another indication that Buddy Holly remained a fab favorite to the end |
3:52 |
| 19 | Because | We end our trawl through the John Barrett tapes with one of the more effective ideas he utilized for "The Beatles At Abbey Road", a vocals-only mix of "Because". Actually, it's vocals-only for half the song, with the synthesizer coming in at the "love is old, love is new" section, but features a new mix throughout the track. | 2:16 |
