Oil Well Bootlegs - RSC CD: The Beatles – Misery Oil Well

The Beatles – Misery
Oil Well – RSC 051 CD

1 Besame Mucho 2:32
2 How Do You Do It 1:59
3 I Saw Her Standing There 3:08
4 There's A Place #1 1:56
5 Misery 1:53
6 One After 909 2:57
7 From Me To You 1:51
8 Can't Buy Me Love 2:15
9 A Hard Day's Night 2:34
10 Leave My Kitten Alone 2:52
11 She's A Woman 3:18
12 If You've Got Trouble 2:20
13 I'm Looking Through You 3:12
14 Norwegian Wood 2:02
15 We Can Work It Out 2:11
16 Day Tripper 3:07
17 Paperback Writer 2:37
18 Strawberry Fields Forever 3:20
19 Penny Lane 3:08
20 The Fool On The Hill 2:45
21 I Am The Walrus 4:23
22 That Means A Lot 2:25
23 Do You Want To Know A Secret 2:00
24 Aerial Tour Instrumental 2:05
Total duration: 63:44

Note
All songs by Lennon/McCartney unless noted
Live in London, UK - April 11, 1966

Track 1 recoded on 6 Jun 1962
Track 2 recoded on 4 Sep 1962
Track 3 recorded on 11 Feb 1963
Track 4 recoeded on 11 Feb 1963
Track 5 recoded on 11 Feb 1963
Track 6 recorded on 5 Mar 1963
Track 7 recorded on 5 March 1963
Track 8 recorded on 29 Jan 1964
Track 9 recorded on 16 Apr 1964
Track 10 recorded on 15 Aug 1964
Track 11 recorded in Sep-Oct 1964
Track 12 recorded on 18 Feb 1965
Track 13 recorded on 24 Oct 1965
Track 14 recorded on 21 Oct 1965
Track 15 recorded on 20 Oct 1965
Track 16 recoded on 16 Oct 1965
Track 17 recorded on 13 Apr 1966
Track 18 recorded on 8 Dec 1966
Track 19 recorded on 29 Dec 1966
Track 20 recorded on 25 Sep 1967
Track 21 recorded in Sep 1967
Track 22 recorded on 20 Feb 1965
Track 23 recorded on 11 Feb 1963
Track 24 recorded 8 Sep 1967

Lineup:
John Lennon - guitars and vocals
Paul McCartney - bass and vocals
George Harrison - guitars and vocals
Ringo Starr - drums and vocals

This album is a digital clone of Back-Track 1 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. Some tracks from this bootleg are the same of Ultra Rare Trax 1 and 2. Track 24 is the demo of Flying. Appears to be from a demo laquer. Features strange "New Orleans" ending.
Read below for more informations!

Audio quality:

Quality content:

© Official released material:
Tracks 1,2,6,8,9,13,19,20,21 have been released officially on Anthology (1997)
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Anthology

Put yourself back in time to 1988-1989. The shock of hearing this, (or Ultra Rare Trax Volumes 1 and 2, which it essentially duplicated), was overwhelming! After almost two decades of vinyl bootlegs, most of which were shoddy, this was like seeing colour for the first time after living in a black and white world. In some ways, this single disc could work as a 'best of' Anthology. I still listen to it, and still would recommend it. The Anthology official releases have nullified parts of this bootleg, and have made much material "common", yet this single disc still packs a wallup. There is no fat on this disc.

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 — 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.

Rolling Stone Review
For more than two decades after the Beatles broke up, the band members and their producer, George Martin, insisted that everything of quality that they created in the studio was already a matter of record — that there was nothing left worthy of reconsideration, much less release. The extraordinary 1968 demos at the start of Anthology 3 — seven songs taped in gorgeous, unplugged form at George Harrison’s home in Esher, England, shortly before the sessions for the epic double album The Beatles (better known as the White Album) — show that those who make history are often the least qualified to judge it. These priceless Esher pearls include spirited previews of “Mean Mr Mustard” and “Polythene Pam”; John Lennon’s raw, feverish take of “Happiness Is a Warm Gun”; Harrison’s subtly vitriolic “Piggies”; and Paul McCartney’s unprepossessing “Junk” (which he later re-cut for his 1970 debut solo album). This is warm, intimate music making, a rare close-up of the Beatles in private, creative ferment, and it is one of the many reasons why the three double CDs’ worth of rough cuts and outtakes in the Anthology series ultimately enhance rather than dilute the legacy and wonder of the Beatles.

Anthology 3 focuses on the end of the line, 1968-1970 — three years of fragmentation that nevertheless yielded the spectacular, sprawling White Album; Let It Be, the tattered but genuinely affecting product of what Lennon once denounced as “the shittiest load of badly recorded shit with a lousy feeling to it ever”; and Abbey Road, on which the Beatles reconvened in better humor for a glorious and proper bow-out. The Beatles’ genius has never been in doubt, but even young men with godlike talent have bad days. The plodding workout of “She Came in Through the Bathroom Window” and the crude pass at “Let It Be,” lacking its later church-hymn grandeur, are two of the lesser performances that have sneaked onto each of the Anthology sets to a minor degree.

But Lennon’s “Cry Baby Cry,” a first take recorded live in the studio, is a folk-soul gem that shows how much of the Beatles’ earthy romanticism survived the psychedelic artifice of the Sgt. Pepper era. The energy and imagination that the Beatles brought to the basics of rock & roll are all over Anthology 3 — the slinky recasting of the Buddy Holly B side “Mailman, Bring Me No More Blues”; the stark muscularity of Lennon’s dadaist variation on classic Chuck Berry, “Come Together”; the crispness and clarity of the drums-and-guitar interplay in “The End.” Even during their long studio hibernations, the Beatles were always a band, never just a group.

Anthology 3 charts the growth of the individual Beatles, which occurred at the expense of the collective whole until the determined regrouping on Abbey Road. Harrison is the dark horse, finally reaching creative parity with McCartney and Lennon in the purity and melodic strength of the solo demos for “Something” and “All Things Must Pass.” Intriguing curios include Lennon’s offbeat “What’s the New Mary Jane” and McCartney’s prototype of “Come and Get It,” an immaculate, bouncy demo that is almost indistinguishable from the hit recording he produced for Badfinger.

At 50 tracks, there is a lot to digest on Anthology 3. Some of it is merely diverting, but much of it is revelatory. And while it has been a long year — the A-Beatle-C hype of late ’95, the protracted release of the three Anthology sets, the massive eight-video box of The Beatles Anthology — this is history and music to be treasured. It took way too long for the surviving Beatles themselves to come to the same conclusion. Better late than never.