The Beatles – “The Fool On The Hill” (Take 5 • Vocal Restored Remix) скачать в хорошем качестве

The Beatles – “The Fool On The Hill” (Take 5 • Vocal Restored Remix)

Take 5 of “The Fool On The Hill” offers a fascinating glimpse of the song before the overdubs transformed it into the warmer, brighter version we know. Its gentler, more pastoral mood feels almost like an entirely different piece — calm, open, and quietly expressive. Recorded at EMI Studios on September 26, 1967, this session produced Take 5 through a tape reduction of Take 4. New parts were added that day — piano, two acoustic guitars, drums, and bass — while the recorder and celeste from an earlier take were retained. Those subtle colors give this early version a softer, more intimate character. For my remix, based on the instrumental Take 5 from Anthology 4, the only modification I made was to add Paul’s vocal from the 2009 remastered version. Hearing Take 5 for the first time on Anthology 4 was genuinely moving for me. Its gentle atmosphere and uncluttered texture immediately made me wonder how it would feel with vocals restored, which became the inspiration for this remix. Technically, it’s a simple project, but syncing Paul’s vocal to this longer take required extra attention. Because Take 5 runs beyond the length of the released master, I had to copy an earlier verse and blend it seamlessly into the extended structure. Since Paul wasn’t singing at the moment those instruments were originally recorded, aligning his voice in a natural and convincing way took great care. To add a little dimension and interest, I applied a rotary effect to Paul’s vocal during the “round, round, round, round” passage. Listening on headphones reveals a distinct circling sensation — a subtle movement around the stereo field that enhances the moment nicely. One detail often misunderstood: even though many listeners mention how much they enjoy the “flutes” in this take, there are no flutes on Take 5. What you’re hearing is Paul’s recorder, carried over from the earlier session. The flutes wouldn’t appear until Take 6. The recorder is a charming embellishment on its own, and honestly, I think it holds the melody beautifully without the later flute overdubs. Other elements in this take include John’s acoustic guitar, providing gentle rhythmic strokes that add a soft shimmer; George doubling John with light strums and small embellishments; and Ringo contributing finger cymbals, mild tambourine or maracas, and a very soft kick and hi-hat in the left channel. Paul performs the piano, the celeste (that toy-piano-like chime in the right channel), and a very light bass part — a line that would later be replaced with a more melodic approach in the final master. Although this remix wasn’t as technically demanding as some of my others, it has become one of the most personally satisfying. This version draws me in deeper each time I hear it, and I find myself replaying it simply for enjoyment rather than analysis. It creates such a comfortable, inviting mood. Thank you so much for listening!