Beatleboros

If you haven't already—and even if you don't like/care about the Beatles...

1. First read about this freshly leaked (then vanished) ur-version of "Revolution" (with assorted comments)...

2. Then go bananas over Devin's expert take (headphones included) on its authenticity...

3. Then check out the fresh comments (Mike: "Obviously EMI won't do this--it would be totally against how they've run the catalog for the last 40 years--but unless we want to consign future listeners to a take-by-take version of the Shakespeare/Bacon debate, opening the vaults and establishing the canon once and for all seems like a good idea")...

4. ...and finally (?!), read Dev's comment on the comments:

What I find more impressive, in a way, and certainly tougher to explain, is how the fakers knew about the "mama-dada" refrain. As I noted, neither Lewisohn nor anyone else mentions such an overdub being attempted or mixed in. Yet it's there on the new Take 20 RM1, and seems to dovetail with John's reference to "mommy-daddy" voices on the Yoko tape.

Now, it could be that someone took his reference and invented the "mama-dada" to retroactively "explain" John's "mommy-daddy" voices -- even being so subtle as to alter the parental designations just slightly, lest the subterfuge seem TOO perfect. But then, wouldn't the success of the ruse then depend on some sucker like me uncovering a passing reference on a dull piece of tape no one listens to, solely to work up a fanciful theory to validate the fake?

Maybe someone can cut a straighter path through these thickets than the one I'm on. But I think the kind of ouroboros trickery we're presuming would involve not just superior sound-editing skills, but the six-moves-ahead thought processes of a master chess player.

Thanks to Eric for bringing it to our attention in the first place, and to Mike for his two cents and for prodding Dev, and Devin for everything, including the use of the term "ouroboros trickery."