German 2nd cut (1972)
Odeon, 1C 062-04 115
Discogs | German Matrix Database
Matrix:
Side A: 04 115 A – 3
Side B: 04 115 B –2
The 2nd cut was made by EMI Electrola in 1972 (not to be confused with a repress of the 1st cut in 1969, both with the SMO and the 1C 062 cat. no.) This second cut was reissued multiple times throughout the 70s. It can be identified by the very narrow deadwax on Side A, and usually has a small circle above the ST33 indicator on labels. Also noteworthy: this cut runs slightly slower than the UK. As for the sound characteristics, here we go with our selected sample tracks.
The first track, “Drive My Car”, is a pleasant surprise, very similar to the UK 1st! A tad bit more reserved in punch, but when switching back and forth, the difference is marginal. Next track is, the ballad “Norwegian Wood” with its rich instrumentation. Once again, very pleasant dynamics, with good, deep and detailed basses on the low side, tambourine and sitar in the trebles, and very clear singing. Though the line “I sat on the rug, biding my time” sounds slightly more muffled than on the UK (as it was pointed out, I verified it). “Nowhere Man” lacks a bit the precision of the UK, the intro of which unfolds like a flower, first the choir to the right, then the bass and drums at the midleft, and then the guitars to the far left. The German does the same, but the effect is slightly less strong. Also, the guitar solo is a bit more buried in the mix. Harrison’s “Think for Yourself” sounds tamer on the German version, the UK has a punchier midrange (distorted guitar and singing) on the UK version. “The Word”, a more action-y song, feels slightly narrowed on the German version, so that John’s voice is not as far right as in the UK. On the other hand, Ringo’s maracas are more detailed on the German version (and bass is strong on both). The last track on Side A, “Michelle”, sounds more open on the German cut, the trebles and Paul’s voice actually more-defined.
On Side B, “What Goes On” the UK gets ahead with better-detailed trebles and overall dynamics, the German sounds more reserved. “I’m Looking Through You” has a punchier bass on the UK, though the midrange has slightly more substance on the German. “Wait”, oddly enough, sounds very similar on both versions, with no real edge to each of the candidates. On “Run for Your Life”, the singing on the right channel has been slightly reduced, so it is more in harmony with the instruments (left channel) – but has less impact.
Overall: I actually forgot how well this version actually sounds. Some songs sound virtually the same, whereas others seem to have more “punch” on the UK. On the other hand, some of the others have better-detailed in trebles on the German version. Overall, a fine record to own.
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