The Beatles - Blue Jay Way Oil Well - RSC 052 CD

The Beatles- Blue Jay Way
Oil Well - RSC 052 CD

1 There Is A Place 2:02
2 Misery 4:53
3 She's A Woman 6:30
4 I Feel Fine #1 2:48
5 I Feel Fine #2 2:46
6 Yes It Is #1 3:00
7 Yes It Is #2 1:26
8 Ticket To Ride 3:19
9 Help! 6:22
10 Day Tripper 6:24
11 We Can Work It Out #1 2:04
12 We Can Work It Out #2 2:28
13 Norwegian Wood 2:00
14 Paperback Writer 3:35
15 Hello Hello 5:10
16 Magical Mistery Tour 4:26
17 Jessie's Dream 4:40
18 Blue Jay Way 3:44
19 Hey Jude 5:46
20 I Hate To See (The Evening Sun Go Down) 0:54
Total duration: 73:46

Note
All songs by Lennon/McCartney unless noted
Live in London, UK - December 8, 1965 

Track 1 recorded on 11 Feb 1963
Track 2 recorded on 11 Feb 1964
Track 3 recorded on 8 Oct 1964
Tracks 4,5 recorded on 18 Oct 1964
Tracks 6, 7 recorded on 16 Feb 1965
Track 8 recorded on 15 Feb 1965
Track 9 recorded on 13 Apri 1965
Track 10 recorded on 16 Oct 1965
Tracks 11, 12 recorded on 20 Oct 1965
Track 13 recorded 12 Oct 1965
Track 14 recorded on 13 Apr 1966
Track 15 recorded on 2 Oct 1967
Track 16 recorded on 25 Apr 1967
Track 17 recorded in Oct 1967
Track 18 recorded on 7 Sep 1967
Tracks 19,20 recoded on 30 Jul 1968

Lineup:
John Lennon - vocals, guitar
Paul McCartney - vocals, bass
George Harrison - vocals, guitar
Ringo Starr - vocals, drums

This rare album is a digital clone of Back Track 2 This Oil Well version has a fine cover, fine quality.
Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Track 20 is also known as St. Louis Blues recorded between takes 6 and 9 of "Hey Jude" the evening of July 30, 1968

Great sound quality. Very enjoyable. I only take a few points off because much, if not all, of the material can be found elsewhere. The problem with both the Backtrack and Ultra Rare Trax series,(as Backtrack simply copied Ultra Rare's material), was that songs began to make repeat appearances. These repeated songs would (usually) feature different takes, yet it was still quite disappointing.
Read below for more informations!

Audio quality: 
Quality content: 

 © Official released material:
Track 13 has been published officially on Anthology (1997)
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Anthology
While the Beatles‘ first Anthology, released 20 years ago this month, isn’t exactly canonical Fab Four, it’s worth remembering how momentous the compilation seemed at the time. Perhaps you were among those whose minds were blown in anticipation of new Beatle baubles, demos, outtakes and live cuts that went beyond what even the most rapacious bootleg collector would have been able to gather up. Would it feel as if one were present at Abbey Road, beholding an impassioned conversation before the next masterpiece was commenced? Would there be takes to challenge the known, canonical ones for “best ever” versions?

Would one discover a fresh McCartney vocal to claim as a favorite going forward, some new delight that would repay hundreds of listenings, just as the old Beatles records always had?

Upon its November, 1995, release, Anthology 1 was a huge seller, as if there was any way it could not be. Posthumous round-ups of rarities were normally geared toward the obsessives, but as we’re talking Beatles, Fab Four diehards form their own kind of widespread subculture, and thus a listening majority.And it’s not hard to imagine fans agog over performances like a live cut of “This Boy” from The Morecambe & Wise Show, which torches the official B-side, thanks to a Lennon vocal on the middle eight that explodes with the same intensity of “Money” and “Twist and Shout,” only with more finesse, and perhaps more heart.

The idea that Beatles masterworks
The idea that Beatles masterworks — or eventual masterworks, to be technical about it — could morph so drastically as to go from quirky Buck Owens pastiche to scream-your-balls-off rock & roll adrenaline-fest is, of course, part of the purpose of the Anthology, but the series, and its first component in particular, poses the neat challenge of determining just where a performance like this fits in with everything else. Beatles albums tend to be ridiculously of a piece, even for the variety each may contain. They work as wholes in oft-impeccable ways, a Beatlesesque knack that even extends to the best Beatles bootlegs and various post-career sets like the BBC albums.

There’s a prevailing spirit to Anthology 1, which is tantamount to “We are coming for you, world.” This is the sound of youth, the sound of confidence where maybe others think that that self-belief is a tad — or a ton — over-estimated, and then the sound of full-on delivering the goods.

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