“TWIST AND SHOUT”
Versions. There is only one version.
Foundational Variations. A “Foundational Variation” is any preceding base for a released recording which (with some exceptions) has no extra material. For this song, the original twin-track Take 1 is not available for inspection. On the released Stereo recording, it is possible to isolate the guitar, bass, and drums (with bleed) in the Left channel, but this does not constitute a Foundational Variation, only a karaoke opportunity. Thus, we can go no further back than the released mixes.
Variations. There are two Mono mixes, four total Variations.
The first Mono mix is on every release except The Beatles Rock Band video game, and has three Variations. The first Variation, 1.0, is designated to every release of the first Mono mix except two following. The second Variation, 1.0.1, is a derivative of 1.0, with much more reverberation than 1.0, found on the vinyl EP Twist and Shout. The third Variation, 1.0.2, is a derivative of 1.0, with a bit more reverberation than 1.0 (but less than 1.0.1), found on the US 45.
The second Mono mix, on The Beatles Rock Band video game, is designated 3.0, since it arrived after (well after) the Stereo mix.
There is only one Stereo mix, but there are four Variations (as well as a few “deviations”).
The first Variation, 2.0, is designated to all Stereo releases of “Twist and Shout” except three following.
The second Variation, 2.0.1, is a derivative of 2.0. On The Early Beatles Stereo LP, “Twist and Shout” has more reverberation than on the Please Please Me album. This is quite “cavernous” and earns a Variation.
The third Variation, 2.1, is on the 1976 US edition of, and the 1980 US and UK reissues for, the 2-LP Rock & Roll Music. It has reversed channels and also a different Stereo image (the consequence of increased bleed), earning a Variation.
The fourth Variation, 2.2, is from the film Ferris Bueller’s Day Off (1986). See below for details.
Not Variations. Section UPDATE February 28, 2011.
(1) In testing* “Twist and Shout” on the German Stereo Die Beatles LP, considered to have less processing than all other Stereo Please Please Me pressings (details: here), I heard a tiny (if any!) discrepancy in the reverberation quality on the vocal (Right) channel, but not enough to earn any new Variation.
* I tested using both vinyl (German Please Please Me) and needle-drop FLAC (Die Beatles), performing A-B tests against several other sources, including UK Please Please Me (vinyl and FLAC), Blue Box Please Please Me (vinyl and FLAC), MFSL Please Please Me (vinyl and FLAC), and the 2009 Please Please Me remaster.
(2) Any small differences in Stereo image positioning will not be designated as new Variations, but as deviations. Naturally, judgment has been used to differ between Variation and deviation.
(3) Discrepancies in channel loudness generally do not earn any new Variation.
(4) Concerning the “Mono Fold-Down” (Mono-from-Stereo) track on The Early Beatles Mono LP, it’s interesting from the standpoint that it proves this album to be filled with such fold-downs, but it can be replicated by simply summing to Mono while playing the Stereo track, and therefore earns no new Variation.
Guitar Noise. The guitar cuts out at about 0:12 into the song, in similar fashion to “Chains.” This is best heard in Stereo.
Vocal Distortion. The searing vocals cause a lot of harshness, probably due to pushing the needle into the red, best heard between about 0:25 and 0:35 into the song.
Mystery Sound. In the fadeout, there is a sound about 3 seconds before silence. The website “What Goes On” describes it this way: “Cough during fadeout - most likely John after that vocal! This has also been suggested as a percussion sound (a stick on the rim of the snare) or a hi-hat.”
This sound is audible only in the vocal channel of the Stereo mix, and on the vocal track for The Beatles Rock Band video game .MOGG file. Therefore, it’s not Ringo. However, it also doesn’t sound human, and certainly nothing like a cough. If anything, it sounds like a wood block being struck, but the presence of any such object, and in the vocal channel, is a mystery to me.
On some Stereo sources, and on the .MOGG file, the fadeout for “Twist and Shout” continues so that several more instances of the same sound (as well as a distant voice saying three syllables) can be heard, again only in the vocal channel/track.
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AUDIO SOURCES
Sonic Ratings. All recommended sources will receive a subjective sonic rating, either Excellent, Very Good, or Good. This subjective rating is based on various factors, including (1) clarity vs. murkiness, (2) smoothness vs. distortion (including harshness) or peaking, (3) balance vs. over-loud elements (for example, too much emphasis on bass), and (4) comparison to other sources under a particular category (for example, Mono). Any source not given a rating of at least Good will at least be provided explanatory notes (including whether or not I’ve heard that source).
Price Tags. Vinyl sources will include an estimated 2011 price tag in US dollars, taken mainly from completed eBay auctions.
Terminology. "Analog" refers only to vinyl. No tapes were tested.
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MONO
Imbalance. “Twist and Shout” in Mono has mastering imbalances of several varieties, differing from source to source. In cases where I was able to test for such imbalance, I provide details.
Terminology. "FLAC signature" and "Channel Duplication Solution" are terms under the subject of imbalance, discussed: here.
End of Song. “Twist and Shout” Mono fades about the same on each source.
VARIATION 1.0: ANALOG
UK LP Please Please Me (1963) - Mono
$20-1000.
General. Details for various incarnations of this album are: here.
My Sources:
Dr. Ebbetts needle-drop FLAC.
Imbalance. Ebbetts FLAC hiss: link.
Sonic Rating. VERY GOOD. Good: Nice separation of the elements. Ripping good vocal mix and super rhythm. Bad: Kind of an ancient feeling, with bass a tad light.
Pbthal needle-drop FLAC.
Imbalance. FLAC signature.
Sonic Rating. VERY GOOD. Good: Pretty close to Ebbetts sound, but high frequencies extended, leading to an excellent vocal mix and out-front drums before guitar. Bad: Sort of a hollow feeling. A bit less bass than Ebbetts.
Millennium Remasters Red Wax Japan LP needle-drop 320 kbps mp3.
Imbalance. Millennium Remasters mp3 signature: link.
Sonic Rating. To be fair, the vocal sounds very nice here, but the rest is muffled. Nothing terrific, but not bad.
Pbthal Red Wax Japan LP (Toshiba EAS-70130) needle-drop FLAC.
Imbalance. FLAC signature.
Sonic Rating. About the same as Millennium Remasters.
US LP Introducing the Beatles, et. al. (1963) - Mono
$100+ (Introducing the Beatles, if genuine)
General. I did not test “Twist and Shout” on any other Vee-Jay album, but I assume they use the same master as Introducing the Beatles.
My Sources: (1) Vinyl. (2) Dr. Ebbetts’ needle-drop FLAC.
Imbalance. Vinyl, no. Dr. Ebbetts, none.
Sonic Rating. Vinyl, VERY GOOD. Good: It’s all about the vocal, but the guitar sounds terrif. Very clean. Bad: Bass and drums take a back seat.
Ebbetts, VERY GOOD. Good: According to spectrum analysis, more in common with pbthal’s UK LP than the US LP, but the sound is authentic. Monster guitar and top-notch vocals. Bad: Similar to the vinyl.
Mexico EP Roll Over Beethoven +3 (1965)
$10 up
General. Catalog# EPEM-10035.
My Source: Vinyl (1971 reissue).
Imbalance. Untested.
Sonic Rating. VERY GOOD. Good: Same as Introducing the Beatles vinyl. Bad: Same as Introducing the Beatles vinyl.
VARIATION 1.0: DIGITAL
CD Please Please Me (1987)
My Source. CD.
Imbalance. link.
Sonic Rating. VERY GOOD. Good: Guitar/vocal focus has that nice mid-range feel, about the same as Ebbetts UK LP. Bad: Typically bright, even “TV tinny.”
CD EP Twist and Shout (1992)
General. This is from the CD EP box set, although it can also be found at auction as a separate CD.
My Source. CD box set. Note. Dr. Ebbetts' UK EP Collection (2000 edition) used the CD EP, not vinyl, for this track (checked with Audacity).
Imbalance. None: link.
Sonic Rating. EXCELLENT. Good: Similar to the CD LP, but cleaner and fuller. Drums and vocal duel to the finish. Bigger bass not intrusive. Good vocal mix. Bad: Not much.
CD Please Please Me - Remaster (2009) - Mono
My Source. FLAC.
Imbalance. FLAC signature. Spectrum analysis of WAV file from CD showed same characteristics as FLAC signature.
Sonic Rating. EXCELLENT. Good: Great presentation of the elements. Up-to-date and dynamic with fat guitar, drums that go pop. Dip at 1 KHz filled in. Bad: You could say that “up-to-date” means sterile.
VARIATION 1.0.1
General. Compared to 1.0, this Variation has a bunch more reverberation.
UK EP Twist and Shout (1963)
$5-50, the lower price for the reissue from the vinyl box set
General. This (Parlophone GEP 8882) is also part of The Beatles EP Collection 1981 vinyl box set.
My Source: Vinyl box set, “-2N” lacquer, “4” mother.
Imbalance. Untested.
Sonic Rating. VERY GOOD. Good: Drums and bass are relatively louder than the vocals, which makes for an interesting experience. Definitely a party! Bad: Reverb makes it sound a bit alien, if not entirely “Capitol”-istic. Drums a bit loud at times.
VARIATION 1.0.2
General. Compared to its Vee-Jay cousin, Introducing the Beatles, this Variation has a bit more reverberation, though less than Variation 1.0.1. This perceived reverberation has been contrarily reported to be only tonal difference.
US 7-inch 45 (1964)
$10-20
General. This single (Tollie 9001) hit #2 on the US Billboard chart, April 4, 1964.
The same master for this single is likely to be found on the singles Oldies OL 152 (Oldies a Vee-Jay subsidiary) and Starline 6061 (Starline, a subsidiary of Capitol, re-released the Vee-Jay masters).
More information and photos for Vee-Jay masters, mothers, and stampers are: here. More information on Vee-Jay releases and chart: here.
My Sources: (1) Vinyl. (2) Dr. Ebbetts’ US Singles Collection needle-drop FLAC.
Imbalance. Vinyl, untested. Dr. Ebbetts, none.
Vinyl, VERY GOOD. Good: Nice little master, drums before guitar. Good vocal mix. Bad: Gained a bit loud, runs a tad slow.
Ebbetts, VERY GOOD. Good: Hot vocal, even if a little shrill. Bit more bass than the 45. Bad: Some ragged edges which must come out on such a bold statement. A tad slow, like the 45.
VARIATION 3.0
General. Besides inherent ambience, and perhaps slightly more reverberation, there is no difference between this remix and Variation 1.0.
VIDEO GAME The Beatles Rock Band (2009)
General. More details on the video game mix, .MOGG file multi-tracks, and outfakes: here.
My Sources. Internet (all).
Imbalance. The video game mix has an inherent imbalance which gives this Variation a different and very nice ambience. After using Channel Duplication Solution, the ambience is deflated.
Sonic Rating. Video Game Mix, GOOD. Good: Can’t complain about the vocal mix or the drums. Spectrally, this Variation works out to be the equivalent of a much louder red wax. Bad: Somewhat bright, with metallic-sounding guitar and cymbals.
MOGG File Multi-Tracks. This section regards the extracted .MOGG file, consisting of 10, that is five pairs of Stereo, tracks. Full Playback overall, too bright. Regrettably, guitar in the middle-eight is not normalized. Isolated Tracks 1 & 2: Miscellaneous Frequencies. Digital noise, obviously for drums. Isolated Tracks 3 & 4: Bass. Muddy, but listenable. No improvement with any track mix. Isolated Tracks 5 & 6: Lead Guitar. The inability to normalize the middle-eight ruins the isolation. Isolated Tracks 7 & 8: Vocals/Drums. Wow! Vocals virtually isolated. Drums can be brought out by mixing with Tracks 3 & 4. Isolated Tracks 9 & 10. Count-in. VERDICT: Some definite hidden treasure.
Outfakes. As we know, an "outfake" is a fan-created mix or recording. The video game mix and the .MOGG file multi-tracks have both been subjected to various fan-created treatments, including extraction and remix. The bootleg Beatles Rock Bandology Vol. 4 is devoted entirely to 28 treatments of "Twist and Shout." Other outfakes exist (I discovered 10), some with, and some without, crowd noise and/or count-in.
I have decided to avoid review of these outfakes, since they have purely subjective value.
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STEREO
Mix Information. The takes were recorded as twin-tracks, two tracks recorded simultaneously, instruments to one side, vocals to the other. For Stereo mixing, the instrumental side of the twin-track was sent hard (wide) to the Left channel, while vocals were sent hard to the Right channel. There is nothing (except bleed and occasional echo) Center, approximately thus (“I” = instrumental track, “V” = vocals track):
Left _I_________________V_ Right
Stereo Image Deviations. The instrumental (Left) channel bleeds like crazy into the vocal channel, probably a deliberate action by George Martin to give certain sections (the opening, the middle-eight and the finale) a glorious Stereo rendering. Nevertheless, as fine as it turned out, it created deviations galore.
(1) The first lacquer UK LP is approximately thus:
Left ___I_____________V___ Right
(2) The second lacquer UK LP is approximately thus:
Left ___I_______________V_ Right
(3) The Beatles Box (“crate”) is approximately thus:
Left ___I___________V_____ Right
It is difficult to say if any of these should be considered different Variations. After all, if “Twist and Shout” on the first lacquer UK LP is the standard, anything which deviates is a Variation of it; but since “Twist and Shout” on the first lacquer UK LP is the anomaly, such decisions muddy. And since “Twist and Shout” on the first and second lacquer UK albums are both anomalies, the decision is downright perplexing. Now, if “Twist and Shout” on the first and second lacquer UK albums do not warrant new Variation designations, how does one justify a Variation designation to the relatively-similar cut on The Beatles Box? Thus, I think it safer, prudent, and less confusing to display these Stereo image deviations without designating new Variation numbers.
Relative Channel Loudness. UPDATE February 12, 2011. Beginning now, this section will change. Rather than comparative descriptions, I will be assigning a number (from 1 to 10) for each channel, subjectively measuring the amplitude. For digital media, this is based on the waveform in Audacity. For analog media, this is based on channel LED indicators. Note that numbers assigned to analog media do not correlate to digital media. Neither are the numbers perfect, but are approximations. The reader is advised to run similar tests, and make necessary correlations, according to the gear.
[NOTE: The following songs will not be updated to reflect this procedural change, but will retain their previous comparative descriptions: Love Me Do, P.S. I Love You, Please Please Me, Ask Me Why, Anna, Chains, Boys, Baby It’s You, Do You Want to Know a Secret, I Saw Her Standing There]
Relative Channel Loudness is the relation of the Left channel to the Right channel. Each source has its own recipe, affecting the listening experience, especially under headphones. This differs from overall loudness; whereas the former may cause a desire to rebalance the channels (by whatever method), the latter (which I will call “gain”) motivates to adjust the volume knob.
Sonic Rating by Mono Summing. The deviations to Wide Stereo are limited, those deviations being (1) channel placement (see “Mix Information” above), (2) relative channel loudness (already covered), and (3) equalization. Due to this minimalism, I decided to listen in Mono to determine the sonic rating (this also satisfied any curiosity concerning “how it would sound”). When I double-checked my findings in Stereo, I was pleased that they matched.
Guitar Flub. At about 1:40 into the song, the rhythm guitar commits a serious error. Quite audible in Stereo, obscured in Mono.
Fake-Outs. There are at least two digital productions for “Twist and Shout” in Stereo which are not the same as their vinyl counterparts, and I consider them to be intentional fakes: (1) a particular circulating mp3 for The Beatles Box (“crate”), and (2) Dr. Ebbetts’ Rock & Roll Music. I deal with each appropriately in their respective sections.
End of Song. Whereas the Mono mix fadeout does not appear to extend as far as that on The Beatles Rock Band video game .MOGG file, the Stereo mix fadeout on a few sources (including MFSL vinyl and pbthal’s Tube-Cut FLAC) does, albeit with not as much clarity.
VARIATION 2.0
UK LP Please Please Me (1963) - Stereo
$50-24,000
General. Details for various incarnations of this album are: here.
My Sources:
UK LP, Two-box label, "-1" lacquer.
My Sources: (1) Vinyl, “2” mother, deep stamper (9th label, ca. 1970). (2) Pbthal “Tube Cut” needle-drop FLAC.
Relative Channel Loudness. Vinyl, Left 2, Right 3. FLAC, Left 5, Right 7.
Sonic Rating by Mono Summing. Vinyl, GOOD. Good: Typical and adequate, with good vocal mix. Bad: Dinky. Hysteria, but not the good kind.
Pbthal, GOOD. Good: Close to the vinyl. Bad: Same deficits as the vinyl, plus some further twiddling with (widening of) the Stereo image.
UK LP from The Beatles Collection ("Blue Box"), "-2" lacquer.
My Sources: (1) Vinyl. (2) Dr. Ebbetts’ needle-drop FLAC.
Relative Channel Loudness. Vinyl, Left 2, Right 3. FLAC, Left 7, Right 6.
Sonic Rating by Mono Summing. Vinyl, GOOD. Good: Spectral analysis shows more mids and lows, compared to the first lacquer. Bad: All for naught as the instrumental channel is too loud.
Ebbetts, GOOD. Good: Pretty close to the vinyl. Bad: Pretty close to the vinyl, plus some further twiddling with (widening of) the Stereo image.
US LP Introducing the Beatles (1963) – Stereo
$ expensive !
General: Vee-Jay album, catalog SR-1062.
My Source: Dr. Ebbetts needle-drop FLAC.
Relative Channel Loudness. Left 6, Right 8.
Sonic Rating by Mono Summing. VERY GOOD. Good: No defects. Good blend of the elements. Nice vocal mix. Bad: Light on the bass.
German LP Die Beatles, or Please Please Me (1966-1977) - Stereo
$ 20-100
General. There is no perceivable difference in reverberation for “Twist and Shout” 2.0 here compared to other sources. Details on the German sources for "Twist and Shout” 2.0 are: here.
My Sources: (1) Vinyl, German Please Please Me (Apple Electrola 1C 062-04219), lacquer “SHZE-117-A2/-B2.” (2) Pbthal Die Beatles needle-drop FLAC. (3) Dr. Ebbetts was used to verify testing.
Relative Channel Loudness. Vinyl, Left 2, Right 2. FLAC, Left 4, Right 5.5.
Sonic Rating by Mono Summing. Vinyl, EXCELLENT. Good. Due to different Relative Channel Loudness, drums are out front of vocal, which is refreshing. The vocal mix is still very lively, and the other elements are well-balanced. Bad. Not much.
Pbthal, GOOD. Good. More like pbthal’s Tube-Cut FLAC than a needle-drop from German vinyl. Bad. Same as Tube-Cut FLAC.
Sweden LP The Beatles’ Greatest (1967)
$10-20
General: EMI, catalog PMCS-306.
My Source: Vinyl, Parlophone catalog #7C 038 04207 (1978 reissue).
Relative Channel Loudness. Left, 2, Right 2.
Sonic Rating by Mono Summing. EXCELLENT. Good. Solid. Great separation, and clean. Ending seems to be complete. Quiet vinyl. Bad. Lighter low frequencies.
Japan (MFSL) LP Please Please Me (1986)
$50 up
General. This release (MFSL 1-101) was also part of a box set (the “Black Box”).
My Sources: (1) Vinyl, from The Black Box. (2) Dr. Ebbetts needle-drop FLAC.
Note that Dr. Ebbetts’ 2008 Upgrade was a remaster, not a needle-drop. I deal with this appropriately.
Relative Channel Loudness. Vinyl, Left 2.5, Right 3. FLAC, Left 8, Right 7.
Sonic Rating by Mono Summing. Vinyl, EXCELLENT. Good: Great mix of the elements. Vocal outstanding. Complete ending. Bad: Not much.
Ebbetts, VERY GOOD. Good: Bass boosted to great effect. This mix of elements nearly perfect. Bad: Not the original intent.
Dr. Ebbetts 2008 Upgrade. Not terribly removed from the sound of MFSL vinyl, but looks and sounds identical to Ebbetts’ Blue Box FLAC. GOOD.
UK 8-LP The Beatles Box (1980)
$50 or so (a bargain!)
General. This is “The Crate” (its nickname), issued by World Records (SM 701/8), EMI’s mail order division.
My Source. UK Vinyl, first lacquer, cut by Harry T. Moss.
Relative Channel Loudness. Left 2, Right 3.
Sonic Rating by Mono Summing. VERY GOOD. Good: Deviation in Stereo image provides a different perspective in EQ, with drums and bass before vocal. Bad: Guitar a bit distant.
Fake-out. A certain circulating mp3 has the channels reversed.
Variation 2.0 Analog, Notes
(1) The Millennium Remasters red wax runs fast and is very bright, enough to reject it.
VARIATION 2.0: DIGITAL
CD Please Please Me - Remaster (2009) – Stereo
My Source. FLAC.
Relative Channel Loudness. Left 9, Right 8.
Sonic Rating by Mono Summing. VERY GOOD. Good. Intelligent. Spectral analysis indicates lows tilted somewhat upwards, with highs tilted somewhat downwards. Bad. Very loud.
VARIATION 2.0: BOOTLEG
Fabulous Sound Labs HDCD Please Please Me
My Source: 320 kbps mp3.
Relative Channel Loudness. Left 8, Right 9.
Sonic Rating by Mono Summing. Very loud and bright.
VARIATION 2.0.1
General. This Variation adds some reverberation.
US LP The Early Beatles (1965) – Stereo
$5-10
General: Capitol album, catalog ST-2309. It’s the familiar “American” sound, if you will.
My Sources: (1) Vinyl (orange label; also, Apple label). (2) Dr. Ebbetts needle-drop FLAC. (3) The Capitol Versions Vol. 2 FLAC (since this is actually digital, I cheated here).
Relative Channel Loudness. Vinyl, Left 2, Right 3. Ebbetts, Left 8, Right 7. The Capitol Versions, even louder than Ebbetts (disqualified from further testing). I am not convinced that Ebbetts did not use the Capitol Versions CD as his foundation.
Sonic Rating by Mono Summing. Vinyl, VERY GOOD. Good. Great cave sound. Focus on drums, vocal. Bad. A little bright. The actual vocal mix muddied by the reverb.
Ebbetts, GOOD. Good. Close to the vinyl. Bad. Very loud.
VARIATION 2.1
General. This Variation was mixed and mastered by George Martin in 1975 and/or 1976, and has two changes: (1) channels reversed, Left becoming Right and vice versa, and (2) the Left channel is moved very close to Center, the Right even closer, approximately thus:
Left ______V_______I_______ Right
US 2-LP Rock & Roll Music (1976, 1980)
$5-20
General: This Variation was released in the US in 1976 on a double LP (Capitol SKBO-11537), and in 1980 on the first of two separate reissue single albums, in the US (Capitol SN-16020 & SN-16021) and in the UK (EMI/Music for Pleasure MFP-50506 & MFP-50507).
My Sources: (1) Vinyl (both US issues). (2) All Together Now bootleg FLAC. (3) Rarities 3: The Final Mixes bootleg mp3.
Relative Channel Loudness. Vinyl (1976), Left 2.5, Right 3. Vinyl (1980), Left 2.5, Right 3. All Together Now, Left 6, Right 8. Rarities 3, similar to ATN.
Sonic Rating by Mono Summing. Vinyl (1976), EXCELLENT. Good. Mix of elements similar to the German LP. Vocal mix very good. Complete ending. Bad. Not much.
Vinyl (1980), EXCELLENT. Good. Very clean mix of elements, reminiscent of MFSL vinyl. Bad. Not much.
All Together Now, EXCELLENT. Comes across like the EQ for 1976 vinyl.
Rarities 3, VERY GOOD. Less quality control.
Dr. Ebbetts, fake-out. An incorrect (wider) Stereo image, and incorrect (thin) equalization. This is also on the bootleg Every Little Thing Vol. 3, Disc 2. I refuse to rate this.
VARIATION 2.2
General. Brennan wrote, “A second (Stereo) remix, probably made for the film Ferris Bueller's Day Off, or at least for the promotion of the single related to it, has the left instrumental track relatively louder.” This needs much clarification.
First, “Twist and Shout” was never released as a single to promote the movie. Neither was there a soundtrack album (ref: here). Instead, Capitol issued a Stereo single, backed with “There’s a Place” (Capitol B-5624), in late 1986 or early 1987. But no official word states it purpose to be cross-promotion for this film.
Second, the mix for the film is entirely different from that for the Capitol single. The film mix places the entire Mono mix (Variation 1.0) Center (“B” in the diagram below), crowds cheering on both the Left and Right channel (“CH” in the diagram below), claps and chants Center (“CL” in the diagram below), and marching band horns Right (“H” in the diagram below), approximately thus:
Left __CH________B+CL________H+CH__ Right
The Capitol single is the common Variation 2.0. But while the Left instrumental channel is a bit louder on that 45 than on most (or all) other US and UK vinyl releases, the Relative Channel Loudness is about the same as the 2009 Remaster, and quite like the German Die Beatles and Swedish Beatles’ Greatest. Since I am not in the habit of designating new Variations for such loudness deviations, I see no reason to start here simply to accommodate previous Variation compendia. Note also that tracks purporting to be Capitol B-5624 on digital bootleg releases (such as All Together Now and Every Little Thing Vol. 4) tested as nearly identical to Ebbetts’ Blue Box FLAC.
Variation 2.2 is designated only to the actual film mix.
Film, Ferris Bueller’s Day Off (1986)
My Source: Videotape.
Relative Channel Loudness. Not applicable.
Sonic Rating by Mono Summing. It is what it is.
OUTFAKES
General. An "outfake" is a fan-created mix or recording.
Bootleg, John Barrett Cassette Dubs Vol. 6 (“Abbey Road Video Show”)
The track listing claims this to be “Take 1 – RS1 – 63.02.25” (that is, the released Stereo mix), but it is unlike any authorized Stereo release. Spectrum analysis appears like Mono but with great imbalance, and I think this is the truth. Under headphones, vocals are slightly Left-of-Center (“V” in the diagram below), guitar and drums reside in the Left and Right channels with occasional intrusion to the Center (“I” in the diagram below), bass ambiguously Center (“B” in the diagram below), approximately thus :
Left _I_______V+B________I_ Right
Let’s call this an unauthorized, but very cool, Fake-Stereo non-Variation.
Bootleg, Dr. Ebbetts' Please Please Me "Stereo Remix"
Dr. Ebbetts worked a “Stereo Remix” (details: here), with heavy instrumentation Left (“I” in the diagram below), vocals Center (“V” in the diagram below), light instrumentation Right (“R” in the diagram below), approximately thus:
Left _I________V_______R_ Right
Naturally, being unauthorized, this is not a Variation.
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MONO FOLD-DOWN: ANALOG & DIGITAL
The 1965 Mono LP The Early Beatles (Capitol T 2309) used a Mono-from-Stereo fold-down, as did the 2006 CD set, The Capitol Albums, Volume 2. This “mix” is not collectible nor a Variation, as you can “make” it yourself by pushing the “Mono” button on your amplifier. For a few more details on the original album, go: here.
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VIDEO SOURCES
PROMOTIONAL
The Beatles mimed (lip-synced) to “Twist and Shout” for promotional purposes on many television shows, some of which are available: (captures appear below descriptions)
(1) The first available video is possibly the most famous. Taped on August 14, 1963, it was broadcast the same day for Scene at 6:30. The four lads wear black turtle-necks, and John looks like he’s putting it out there. This is commonly available on bootleg, Chronology 2 being about the best choice. Snippets of the film were used in the Anthology clip. The 1988 film Imagine: John Lennon has this video in part.
(2) The second available video was taped on September 1, 1963, broadcast September 7 for Big Night Out. The boys wear Beatles suits and perform on a platform. Two of the best bootleg sources for this show are Beatles Big Night Out! 1963, 1964 & 1965 (Misterclaudel MCCD125-127) and Odds and Sods but Upgrades Vol. 2 (Hiwax). Snippets of the film were used in the Anthology clip.
(3) The third available video was aired live on October 4, 1963 for Ready Steady Go!, rebroadcast December 31. Dusty Springfield introduces the band, and they perform among dancers. The first bar of guitar is missing. I have no clear-cut recommendation among the many bootleg collections. This was officially released on Ready Steady Go: Volume 2.
(4) The fourth available video was taped on December 15, 1963, broadcast December 21 for Thank Your Lucky Stars . The Beatles perform amidst slanted stage pillars painted (I guess) with the names John, Paul, George, and Ringo. Two versions exist, one with audience screaming, one without. The bootleg DVD Thank Your Lucky Stars 1963, 1964 & 1965 (Misterclaudel MCDVD20) presents this with both audio tracks (“original” and “remastered”), and covers the commonly-seen timecode (pictured below) with a “Thank Your Lucky Stars” banner.
(5) The fifth available video is a bit of a cheat. On June 5, 1964, in Hillegom, Netherlands, the Beatles mimed to “Twist and Shout” per normal, but the microphones were left on, perhaps intentionally. This created a unique experience for fans, who essentially heard the lads karaoke their own music. I think Hillegom counts as both promo and performance, so it will also be featured on its own. VARA Television broadcast this tape on June 8 as The Beatles in Nederland, and aired it again on July 18. I have no clear-cut recommendation among the bootlegs.
(6) The sixth available video is from Anthology, and is a compilation of clips (no capture).
Reference for dates: Lewisohn, Chronicles
CARTOON
(1) The Beatles cartoon series, Episode 8, includes an animated segment, the Fabs performing in an art gallery with impromptu objects d’art as instruments. Very clever. A capture appears below.
"Twist and Shout" was also utilized for an animated sing-a-long in The Beatles cartoon series, Episode 9, reusing much of the footage from Episode 8. However, the song is missing the entire first third, making it not a suitable "music video" experience.
ROCK BAND
The Beatles Rock Band video game offers this song as a performance at the Cavern Club. Various angles are presented in several combinations, so there are many enjoyments. Obscuring game elements, both visual (meters and counters) and aural (crowd noise), are virtually impossible to eliminate.
Some enterprising individuals have collected the video game performances to bootleg DVD.
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Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2011 Tom Wise.
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