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The Beatles - Anthology 4 (2025) [FLAC 24/96|Lossless|WEB-DL|tracks] <Classic Rock, Pop Rock>


 
 
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The Beatles - Anthology 4 (2025)
Жанр: Classic Rock, Pop Rock
Издание: Label: UMC (Universal Music Catalogue)
Источник: qobuz
Продолжительность: 01:59:00

Аудио: FLAC 24/96, Lossless|WEB-DL
Тип рипа: tracks

Треклист:
01 - I Saw Her Standing There (Take 2)
02 - Money (That's What I Want) (RM7 Undubbed)
03 - This Boy (Takes 12 And 13)
04 - Tell Me Why (Takes 4 And 5)
05 - If I Fell (Take 11)
06 - Matchbox (Take 1)
07 - Every Little Thing (Takes 6 And 7)
08 - I Need You (Take 1)
09 - I've Just Seen A Face (Take 3)
10 - In My Life (Take 1)
11 - Nowhere Man (First Version - Take 2)
12 - Got To Get You Into My Life (Second Version - Unnumbered Mix)
13 - Love You To (Take 7)
14 - Strawberry Fields Forever (Take 26)
15 - She's Leaving Home (Take 1 - Instrumental)
The fourth installment in The Beatles Anthology series, launched in 2015 by Universal, is full of rarities and previously unreleased material. But unlike the first three volumes, its 36 tracks are available in Hi-Res at 24/96 kHz!

Carefully curated by Giles Martin, son of the Beatles’ legendary producer, the collection features demos, sessions from 1963 to 1969, and new mixes by Jeff Lynne, bandleader of the Electric Light Orchestra, all presented in exceptional sound quality and the audio is remarkably clear and well polished. Most of the selected takes give listeners the opportunity to hear the songs in their early stages, while others highlight lesser-known facets of the Liverpudlians’ work, such as the very first take of their 1964 cover of Carl Perkins’ rockabilly classic “Matchbox”, or the delicate orchestration of the instrumental version of “She’s Leaving Home” (from Sgt. Pepper’s Lonely Hearts Club Band, 1967).

The behind-the-scenes moments of the sessions are laid bare. We discover astonishing early versions in “Nowhere Man” (Rubber Soul, 1965), where the Beatles initially planned more instrumental passages, and an even more psychedelic version of George Harrison’s “Love You To” (Revolver, 1966). As if seated beside them, we can hear the band squabble and negotiate their way through the recordings: Lennon reins in a distracted McCartney on “Tell Me Why”, complains about removing a “cursed” guitar part from “Baby, You’re a Rich Man” (Magical Mystery Tour, 1967), and even asks roadie Mal Evans for some cannabis. The album is a long, immersive experience that transports listeners straight into the
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