|Bare It All - Vols. 1 & 2 - Front Cover||Bare It All - Vols. 1 & 2 - Back Cover|
|Release Date||Early 2014|
|Total Time||Disc 1 - 65:13
Disc 2 - 61:10
|Comments:||From the Sleeve
Represented here is a composite of 3 different transfers of "The John Barrett Tapes".
The majority of these come from "More Masters" and "True Masters" from Roaring Mouse.
These are supplemented with the master given to Vigotone, which was bit-identical to the Roaring Mouse releases, but
was edited differently, allowing restoration of numerous edits done to the Roaring Mouse versions.
Disc 1 has additionally been augmented with the "Abbey Road Tape" and "Down In Havana" from Unicorn,
which come from a more complete but higher generation source.
Collector Music Review Summary
For anyone still unaware of what happened there, a quick rundown:
Each manufacturer got a lot of the same things BUT each set was also butchered - seconds missing here and there,
The John Barrett tapes were a grab bag for Beatles collectors, a monster that continues to feed our hobby,
Prior to that release, fully paid up member of the Beatles Fan Club and internet forum user, Masterjedi, put together a comprehensive set of the Barrett tapes. Masterjedi took Roaring Mouse’s sets (“More Masters” and “True Masters”) as a base, adding bit-parts from Vigotone’s various versions and also using the oddities from Unicorn’s “Down In Havana” CD, eschewing the material supplemented from the Roger Scott tapes that some labels added to make a slightly more cohesive whole.
Helpfully there was a full rundown posted on to the internet of where these tracks came from which we copy here: John Barrett Tapes - Cross Reference List
Sitting through various different takes of one song and surgically repairing missing bits and pieces where they allow,
this set must be tendered as one of the final words on the Barrett tapes (were it not for that aforementioned HMC release !)
and thankfully it sticks true to his compilation ethos:
Disk two rounds up the less boring parts of the "Let It Be" sessions on one of the final non-Spector compilations of "Get Back"
(finished by Glyn Johns the way it should have been) and tops them off with George’s demos recorded in 1969 on his birthday.
For anyone new to these outtakes or considering completing their collections with them, this MasterJedi collection is essential as a solid set.
Apparently, the bootlegger who took this set from the internet (cheekily) kept the rather handsome covers that MasterJedi created.
A rather basic double c.d. release with a few nice pictures and just the information seen on the scans above.
|1||She Loves You||RS1 (2:20) - Geoff Emerick's First Stereo Remix from 8th November 1966||2:29|
|2||She Loves You||RS2 Version 2 (2:20) - Geoff Emerick's Second Stereo Remix from 8th November 1966||2:27|
|3||This Boy||RS15 (2:16) - Abbey Road Engineer, Peter Bown's stereo mix of 10th November 1966||2:41|
|4||That Means A Lot||Take 20 Remake (0:49) & Take 22 (2:05)||3:24|
|5||That Means A Lot||Take 23 (1:41)||2:10|
|6||That Means A Lot||"Just a test" (0:43)||0:53|
|7||Strawberry Fields Forever||RM3 of Take 7 (3:01) - Complete with count-in !||3:25|
|8||Strawberry Fields Forever||Take 26 RM9 (3:09)
A rough John Lennon single-tracked vocal over the "orchestral version" (take 26) for the first time.
All other mixes of this rendition which appeared before 1999 had been in stereo,
with no complete vocal existing on top of the track.
|9||Penny Lane||Take 9 RM8 (2:53)
Another exciting discovery back in 1999 - 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
appeared in "The John Barrett Tapes" for the first time, complete with some studio noise and a count-in at the beginning.
|10||Penny Lane||Take 9 RM9 (2:58) - this mix includes the trumpet||3:11|
|11||Penny Lane||Take 9 RM10 (2:57)
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 25th, and RM14 is the one that was used from that point on.
RM10 is included here in all of its mono glory.
|12||Mr. Moonlight||Common Stereo mix||2:38|
|13||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.
|14||Ob-La-Di Ob-La-Da||Take 5 (2:48) - Very bare version||3:01|
|15||What You're Doing||Take 11 (1:58)
In 1999 this was again 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.
|16||From Me To You||(1:56)
A Barrett remix of the previously available stereo version, which is sans the harmonica introduction,
but features the "Da-Da-Da's" !
|17||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".
|18||Thank You Girl||Track 2 Take 14 with end from Take 30 (2:02)
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.
|19||Thank You Girl||RS30 (2:02)
A long-awaited mix, an "unechoed" stereo version with harmonica over the middle-eight as well as the intro and outro.
|20||Yes It Is||RS1||2:40|
|21||Down In Havana||Outake with the next sequence too||0:38|
|22||Step Inside Love
|Recorded during the session for The Beatles (The White Album) track "I Will", with only Paul, John and Ringo in attendance.
Paul informally broke into "Step Inside Love" (1:22) and "Los Paranoias" (3:48) which 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.
|23||The Way You Look Tonight||(1:07)
Still from the I Will session, this is basically the tune of "I Will" with impromptu lyrics.
|24||Jamming||Surely not from the same "I Will" session as it's electric guitars and drum "jamming".||1;14|
|25||Can You Take Me Back||The long version of the link track used between "Cry Baby Cry" and "Revolution #9" on The White Album.
The edit that featured on the album starts 1:27 into this longer unedited piece.
|26||Can You Take Me Back||Incomplete||1:09|
|1||One After 909||(2:45)
DDSI no. 30.8 +
DDSI no. 30.9 ("Oh Danny Boy")
The only track from the Get Back album which used a recording from the "Rooftop Concert"
"All cameras clear" at start, then at end includes both,
"Oh Danny boy ...." and "Thanks Mo, I hope we passed the audition"
|2||Rocker||DDSI no. 22.58
A rock 'n' roll jam instrumental, that Paul bestowed this title on after ploughing through a
number of tapes in order to catalogue the large number of unlabelled tape boxes.
|3||Save The Last Dance For Me||(0:21)
DDSI no. 22.59
This was left on the album to maintain the "fun atmosphere of the whole session".
Starts with, "Just a minute boys" includes one line from the Drifters song and the following track.
|4||Don't Let Me Down||(3:32)
DDSI no. 22.80
"This time it's serious", false start, "Do your thing man" ....
|5||Dig A Pony||(3:41)
DDSI no. 23.70
"Let's do the next one, straight into I've Got A Fever"
|6||I've Got A Feeling||(2:41)
DDSI no. 22.71
At end John says, "I cocked it up trying to get loud"
DDSI no. 27.63 & 28.43
|8||Let It Be||(3:50)
DDSI no. 31.64 with April '69 guitar overdub
"Take 27 - sync to second clap"
|9||For You Blue||(2:28)
DDSI no. 25.47
Sound of ice in a glass, "Ok, quiet please"
|10||Two Of Us||(3:23)
DDSI no. 24.69
At end, "And so we leave the little town of England"
DDSI no. 24.49
DDSI no. 24.85 (edited part thereof) +
DDSI no. 24.85 ("That was Georgie Wood")
|13||Long And Winding Road||(3:40)
DDSI no. 26.91
"Are we supposed to giggle in the solo ?"
|14||I Me Mine||(1:35)
Take 16, 3rd Jan. 1970 - "Are you ready, Ringo"
|15||Across The Universe||(3:27)
Take 7, 4th Feb. 1968 - "Y'alright Ritchie ?"
|16||Get Back (Reprise)||DDSI no. 28.43 - "Laughter" version - taken from the end of the film||0:39|
RS1 by Glyn Johns - 24th January 1969
RS1 by Phil Spector - 25th March 1970
|19||Old Brown Shoe||Take 2 (Different mix to Anthology 3) - 25th February 1969||3:05|
|20||All Things Must Pass||Take 2 - Mono (Different mix to Anthology 3) - 25th February 1969||3:09|
Bare It All - Vols. 3 & 4 Bare It All - Vol. 5