Track listing of new Beatles project!!!

http://www.rollingstone.com/news/sto...atles_in_vegas

Overture: ''BECAUSE'' -- just the vocal track, with bird effects.

Track 1: ''GET BACK'' -- ending with strings from ''Glass Onion,'' with ''Hello Goodbye'' mixed in

Track 2: ''ELEANOR RIGBY'' -- with a newly structured string intro

Track 3: ''I AM THE WALRUS''

Track 4: ''I WANT TO HOLD YOUR HAND''

Track 5: ''CAN'T BUY ME LOVE''

Track 6: ''A HARD DAY'S NIGHT''

The introduction from ''Sun King,'' played backwards, leads into

Track 7: ''SOMETHING''

Track 8: ''BEING FOR THE BENEFIT OF MR. KITE'' with laughter and screaming from various sessions, accordion from ''Cry Baby Cry,'' lots of "pissing around'' that was on the masters
Also ''Good Morning Good Morning'' sound effects, laughter from ''Piggies,'' noises from ''I Want You (She's So Heavy)'' and ''Helter Skelter''

Track 9: ''HELP''

Track 10: ''YESTERDAY'' ends with ''Blackbird'' intro into

Track 11: ''GIRL'' with a drone from ''Lucy in the Sky with Diamonds,'' a drum roll from ''Being For the Benefit of Mr. Kite'' under the chorus, and a guitar figure from ''And I Love Her''

Track 12: ''SHE'S LEAVING HOME''

Track 13: ''STRAWBERRY FIELDS FOREVER'' crescendo at end includes ''Penny Lane,'' ''In My Life,'' ''Piggies,'' ''Hello Goodbye'' all weaving in and out over track
Ringo loved this -- he loves anything where I have his drums up. Paul said, 'I'm pleased, you've been so sensitive to what the Beatles are about.' It's the best job in the world to have license to play around with all these masters.''

Track 14: ''WITHIN YOU WITHOUT YOU'' over the drums from ''Tomorrow Never Knows''

''This was the first thing we did. We played it for them, and they said 'we want more like that!' We had to remind them, 'Fellas, you know that on most songs you did actually change chords!'

George Martin: '' 'Within You' is not the most memorable song, but it's much more interesting with that rhythm.''

Track 15: ''LUCY IN THE SKY WITH DIAMONDS''

For the introduction, the organ is ''chopped up to one note at a time, moved up an octave''

Later, horns from ''Sgt. Pepper's Lonely Hearts Club Band''

Track 16: ''OCTOPUS'S GARDEN'' starts with the strings from ''Good Night,'' sung over the drums from ''Lovely Rita,'' break from ''Polythene Pam'' in middle

''Ringo would ask every time, what have you done for 'Octopus?' Because these are the Beatles, they want to be crazy. Ringo said, 'Don't mess about -- if you're going to do it, really do it.' So we wanted to take the weird stuff he did and use it as it was meant to be used. The truth is, eighty percent of the people won't even notice. And hopefully the fans won't be too cross with me for the heresy.''

Track 17: ''LADY MADONNA''

Percussion break in the middle from ''Hey Bulldog,'' Eric Clapton's guitar solo from ''While Guitar Gently Weeps''

Track 18: ''HERE COMES THE SUN''

Vocals from ''Oh Darling,'' tabla from ''Within You Without You,'' bass from ''I Want You (She's So Heavy)''

Track 19: ''COME TOGETHER''

''There really was nothing you could do here. Paul and Ringo listened to this, and they both said, 'We were really good. We remember that day, that session, and how good we were.' ''

Track 20: ''REVOLUTION''

Track 21: ''BACK IN THE U.S.S.R.''

Track 22: ''WHILE MY GUITAR GENTLY WEEPS''

George Martin: ''Dominic liked the simplicity of the solo, acoustic version -- that was almost a demo, it was in a different key. But Olivia (Harrison) was uncomfortable using it like that, she thought it was too small and unfinished.

''So they asked me to write a special score. It was a bit petrifying, actually -- Olivia came to the session and it went very well, she loved it. It's pretty significant -- it's the very last score ever to be written for a Beatles song.''

Track 23:''A DAY IN THE LIFE''

''Again, what can you do with something like this? We found four different versions of the strings. But with something like this, the more we separated the tracks, the worse it became, the less impact it had.''

Track 24: ''HEY JUDE''

''We isolated a bass part that comes late in the song, moved that up and brought it out.''

Track 25: ''SGT. PEPPER'S LONELY HEARTS CLUB BAND''

CLOSING: ''ALL YOU NEED IS LOVE''

Sounds very interesting, especially track 14.
When will this be released in CD?

I was expecting at least some "lost" Beatle tracks. Bummer.

Can anyone explain what the purpose of this album is?

What? Beatle remixes next?

According to the linked article, it's for the "Beatles Love" show by Cirque du Soleil which opens in Las Vegas at the end of this month. I'm going to see the show in early July, so will post a review aftewards.

So wait, half the stuff is the already available studio versions?

Well, it sounds like it is all remastered, and probably all remixed as well (in some cases more radically than others).

Did we really expect a genuinely new song? It seems to me that they had to stretch what the available polished material was just to make six anthology CDS. How could something really interesting have been left behind? How would we not know about it as fans? It would be in Lewisohn, for one thing.

I, for one, am looking forward to it. I think it will be fun to hear the old songs in a new way.

Tony

p.s. The original Rolling Stone link is longer and provides more context... including that these are not all necessarily future CD tracks, just the tracks that will be used in the Vegas LOVE show.

It sounds like those Beatle 'Mash-ups" that were in such abundance a while ago. Perhaps this is why all of those old mixes are now impossible to find?

Holy Crap! I'm flying to Vegas next week. I have tickets for the preview show on 22 June. I'll be sure to report. Sounds like heaven!

I plan to go to see the cirque du soleil show in Vegas with beatles music sometime this year in December.

Originally Posted by AMBOISVERT

Well, it sounds like it is all remastered, and probably all remixed as well (in some cases more radically than others).

Did we really expect a genuinely new song? It seems to me that they had to stretch what the available polished material was just to make six anthology CDS. How could something really interesting have been left behind? How would we not know about it as fans? It would be in Lewisohn, for one thing.

There are enough unofficial that wasn't on Anthology, but that had been released on bootlegs. For the hardcore fan there wouldn't be anything new, but for the avarage fan who isn't into collecting bootlegs a song like "Goodbye" could have been a nice surprise.

OK, I might sound a little bit obnoxious here, but who wants DRUMS added to "Within You Without You"... FORTY YEARS after it was recorded?

I just don't like remixes that redo the song in such a way.

I hope I like it more when I actually hear it.

Originally Posted by darkhorse

OK, I might sound a little bit obnoxious here, but who wants DRUMS added to "Within You Without You"... FORTY YEARS after it was recorded?

I just don't like remixes that redo the song in such a way.

Well it isn't like the old version of the song is going to be erased. And it is not some random drum machine, added by some random DJ, but the drums from "Tomorrow Never Knows" added by George Martin. And thirdly, it worked pretty well for that Elvis tune, and that was about forty years old.

Tony