Speaking of The Beatles, when Capitol released Vol. 2 of The Capitol Albums back in 2006, the original release contained the wrong mixes for the mono tracks on Beatles VI and Rubber Soul. Instead of true mono mixes, they were fold-downs of the stereo mixes. Capitol rectified the problem, but trying to figure out whether you had the corrected versions was not simple. Word is, the correct re-issues had a revised version designation on the discs (as well as additional lettering on the cover sticker), but discs did not have these markings and my sticker was long gone. However, my copy of Rubber Soul did not contain the false start at the beginning of I'm Looking Through You on the mono version. Thus, I had evidence that I had the wrong versions and evidence that I had the corrected versions.
If the mono version of I'm Looking Through You has the false start, that means it's the fold-down of the stereo version (the stereo version is from a completely different take than the mono version); the take used for the true mono mixes doesn't have the false start.
The only thing worse than a terrorist attack or some random mass shooting or killing or tragedy of any flavor is forever making some kind of grim national holiday out of the date it happened. It's enough already. No one is going to forget, don't worry New York.
"Hey, do you want to go to dinner?"
"I can't, it's October 22nd."
"Oh...what's October 22nd?"
"I got into a bad car accident on October 22nd of 1982. So every October 22nd I remember the accident and relive the horror and pain and misery of it and solemnly mope around all day saying, 'Never again!' So, no, can't make dinner. Sorry."
"Jesus, no, I'm sorry, I had no idea. But...how does saying 'Never again' over and over every October 22nd prevent a future accident?"
"What are you, heartless? I had a terrible accident a long time ago, and I want to relive it every year, what's wrong with that?"
"Nothing, I guess. Sorry?"
"You should be."
Paying $160 to listen to the sessions - I don't know, man. 50 tracks...it's a bit much. Things like that are much tastier in small bites (I say that after having survived this monster and living to tell the tale). I can say with a clear conscience that I have never found myself listening to a song (by anyone) and thought, "Damn, I seem to recall that the 12th take of this song on disc 7 of that third pressing of the anniversary box set really sounds better than this, I should be listening to that instead."
And I have to say again for the record that I've never understood doing a "5.1 surround mix" for a rock album (or any album), but what do I know.
I like the idea of the record as originally released/intended and maybe a record of just one really good alternate take of each tune or the demos if they're awesome. Then that's there's whole "who's editing this monster" discussion.
I just watched an 18 minute unboxing of the deluxe boxed set. The dudes enthusiasm was thru the roof silly, too much talking, too many asides. It made it very hard to watch. The sets cool. But that's not a surprise is it?
I got lucky. I can listen to the super de luxe box set for free on my computer and smartphone. Since I have the same provider for my internet, cable TV and smartphone I'm given free access to the provider's music site which is somewhat similar to Spotify. So the next couple of days I'll be listening to the Esher demos. Of course, I only found out after I had ordered the de luxe 3-CD set. Typical!
Very cool 4-song set from 1963. In addition to the music, there's some great banter and interesting audience reactions.
She Loves You: 1:14
Twist And Shout: 4:04
I Saw Her Standing There: 6:54
Long Tall Sally: 9:45
Some user comments:
--Shows how tight a good band can be after putting in so many sets at the Cavern
--Anyone notice how McCartney’s “sh” at 3:53 literally silenced the audience immediately. Guy’s a hypnotist
--John can't do the usual harmonizing for "I Saw Her Standing There" so soon after wrecking his vocal chords for "Twist and Shout". So he had to drop it an octave
-- don't think they realized that Lennon and McCartney both sang lead. Paul's mic is turned down low like a backing vocalist mic
--You see John move back part way through 'saw her standing there' probably realising he's completely drowning out paul