Label: Pear - PDP 031 • Format: CD Unofficial Release Digipak • Genre: Rock •
After returning to England, John and Yoko rounded up familiar faces for what would become Mother [alternate take sessions for the couple's respective Plastic Ono Band L. Many of the songs had been written prior to the trip, but these were polished and several more were composed in California.
As John stated, "the ones I play on guitar I wrote on guitar, the ones I play on piano I wrote on piano". Sessions began on 26th September with pre-production work beginning two days earlier. In usual Lennon fashion, they were swift, described by John as being "done in ten days". Ten sessions would have been a more accurate assessment. Phil Spector, having proved his mettle on Instant Karma and Let It Be, as well as George's forthcoming All Things Must Pass, brought his "back to mono" sensibility to the sound of the record, resulting in it being a very "in your face" L.
Work on the L. The Beatles Book Monthly reported sessions taking place at EMI on October 1, 4, 5, 8, 9, 11 and 14 with initial mixes produced on the 22nd. All other work was completed by 27th October.
The different beginning] - John Lennon - The Alternate Plastic Ono Band were delivered to EMI on the 29th. Acetates of the final track layout were cut the next day. Upon release it was hailed as the best solo Beatle release thus far and to this day stands as arguably John's most consistent work. It's a harrowing listen, even 45 years on, however this did not deter it from becoming a top-twenty L. Although some of these tracks have appeared before, they are offered here in more complete form and in correct sequential order from a newly acquired mono monitor source tape.
Musically and lyrically it set the tone for the rest of the record. The early Mother [alternate take version is prefaced by a brief warm-up which leads directly into the take.
It is also performed on electric guitar Sultão Do Mato - Gloria Bomfim - Santo E Orixá a slightly quicker tempo than the piano-based album version, which results in a less menacing, more upbeat read of the song. After the take John comments, "That was more like it".
Obviously, it wasn't. Four rings of an ominous bell later, he had it Matter Of Time - Trae - Later Dayz quicker tempo alternate take was only aired during The Lost Lennon Tapes radio series, but it's intro was talked over which spawned several different edits as bootleggers attempted to join the commercial and alternate versions.
Pegboy's The Dream Is Over provided this take from a tape source, but even this tape source was said to be incomplete. The commercial L. The version on Shaved Fish is in mono and fades prematurely.
A third edit of appears on 's Lennon Legend where it is listed as the "single edit". But, the single was in mono while the Legend version simply edits the stereo L. An intriguing rough mix appears to be taken from acetate on the Japanese CD Hushed Bells Over, which consists of the piano based backing, but with electric guitar accompaniment.
On first listening it may seem this mix Mother [alternate take be a forgery, but there are numerous variations in John's vocal during the repeated end chorus as well as a slightly longer fade. As an aside, George Harrison performed a brief, off-the-cuff, acapella rendition of it during an interview for the TV show Good Morning Australia in March It was also remixed for use in the Imagine: Documentary but it's brief appearance Mother [alternate take covered by narration.
A great, yet way too short rockabilly version appears on Anthology. Secondly, by the prominent congas, which have all but been mixed out of the commercial version. There is also an extended fade which features more of John's reprise of Perkins' Gone Gone Gone than on any other mix.
The second alternate mix sounds nearly identical to the released version but has a wider stereo picture and the fade runs on longer. Another mix appears to be a composite of the previously described alternate mix and the commercial version the edit can be heard at She Acts Like A Woman Should - Marilyn Monroe - Sings results in a useless variation.
The Anthology take is quite similar to the released version with John accompanied by his acoustic guitar. At the end of this attempt, which Yoko described as "the take before the first Could You Be Loved - Various - Magic Reggae, John breaks into a brief impromptu version of "Well, Well, Well". Like "I Found Out", the Australian pressing was edited to remove two offending lyrics, 25 years later the soundtrack was still being censored on a promo video for the Anthology version.
Isolation is one of the reasons the demise of the vinyl L. It shuts down cold one of the most emotionally draining sides ever created for an album. This effect would be greatly diminished on C. This track is also nearly in mono. The alternate take fades in from a take in progress which quickly breaks down. John, Ringo and Klaus commiserate what necessitated the breakdown and Hallo Spaceboy - David Bowie - Total Meltdown proceed at a slightly slower tempo than the commercial version would later evidence.
Early takes fade in on a frantic attempt at the tune taken at far too quick a pace for John to sing along with. After some discussion, they start up at a much slower tempo, even slower than the released version. These attempts are humourous with John cracking up throughout, making up lyrics on the spot, and finally remarking, "I mean Silly maybe, but entertaining definitely.
The commercial version is in mono as is the unedited version of the released take. On another take, John's vocal has been double-tracked in parts and the extended playout features an organ overdub.
The closing "5th of November" occurs at on the L. John can be heard during this playout saying, "Avant Garde is French for bullshit". He also says, "Yoko's grown a beard and John's lost another baby" and "both of them are going to live on the Isle of Wight for tax reasons. The track fades in quickly and breaks down, a brief bit of dialogue and straight into a complete take.
A slower tempo than the commercial release as John fumbles with the chord changes. The album version is in mono. All C. And it appears that the stereo mix intro was reduced to mono and faded appropriately to aproximate the original version. There is plenty of tape hiss on the LP version - this isn't tough to notice. So for now the only place to get real "Love" is on a copy of the original L. The stereo mix of Love prepared in to promote The John Lennon Collection appeared only on the single.
Anyway, this rough mix of the released Take 4 is in stereo compared to the commercial mono mix. The stereo picture isn't very wide, but Ringo's hi-hat is panned further to the left.
The problem is, the first part of the two composites is in stereo, but the second part is in mono, so when the edit is made at the track reverts to mono. Anyway, this composite is better than two incomplete versions. Look At Me on Anthology is performed on steel string guitar and strummed chords, whereas the released version was strung with nylon and had finger-picked arpeggios. Also it is at a slightly quicker tempo. There are two alternate mixes of the released take, both in mono and not easily differentiated.
They can best be discerned from one another by the opening line of the song. Although both have John's vocal double-tracked, the first version sounds phased, while the second is dry in comparison.
In addition two distinct voices can be heard to say, "Hello" in the intro of the second version. Almost like "Luck Of The Irish" at the start The commercial release has a very faint stereo image with the snare panned slightly to the left and some panning of the drums during the "I don't believe in The track was remixed and edited for it's inclusion in the Imagine: documentary, where nearly two minutes can be heard.
While Yoko films, John entertained himself on acoustic guitar, in this case with a rockabilly style bar. A number of these versions can be found on The Lost Lennon Tapes.
Worst part of this set. On this bootleg it's just the bare show at 52 minutes and 13 seconds long and it's poor TV quality and has distracting dutch subtitles! Clearly, it's from vpro Safety In Numbers - Erasure - The Circus from the Netherlands as it has the station ident in the corner.
Really strange that the bootleggers would use this version when there is an official release from Eagle Mother [alternate take : In an excellent DVD was issued as part of the Classic Albums T. In all, a brief, but interesting fly-on-the-wall listening experience that can only make one appreciate even more one of the best post-Beatle albums by any of the Fab Four. What more could anyone want? Demo Solo with acoustic guitar At end John says, "Etcetera".
Alternate Take 1 Piano, drum and bass - harsh version. Alternate Take 2 Pre-faced by a very brief warm-up, then John, "Ok start now" No piano, guitar version with clearer instrumentation too.
At end, "yes, yes, yes, well that was more like it". Rough Take 1 Piano, with band, finishes with piano flourish. Backing Track with L. Hold On. Rock version Take 1 breakdown John, "I didn't like that, stop the tape". Rock version Take 2 Excellent bluesy bar version - mostly instrumental in Different beginning] - John Lennon - The Alternate Plastic Ono Band 1 The slow version Breaks down afterthen drum and bass start up John, "I'm gonna fade out again", some "hold on's".
Take 2 Before start, "We'll go out fast cause it's like a word of encouragement" In breathy voice, "We'd like to change the mood 10th Man Down - Nightwish - Over The Hills And Far Away At end, "OK, that'll do, wo don't wanna Artsy Fartsy - The Taste Of Vomit - ...I Remember My First Mixtape (File, Album) Take 4 - John stops it, "Let's try and end it, I'm sorry, I meant to try and end it".
Take 5 Song has slowed down Different beginning] - John Lennon - The Alternate Plastic Ono Band end, "Let's hear it". Take 6 Before start, "Count it in?