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A B EG I N N E R' S G U I D E T O B E AT L E B O O T L EG S

A BEGINNER'S GUIDE TO BEATLE BOOTLEGS Text (C) 1989, 1990 By Doug Sulpy

Doug Sulpy (me) has been collecting these things since 1973, and, since 1986, has put out a fanzine for bootleg collectors which shall be forever unnamed on THESE phone lines :-). He is currently writing a book with Ray Schweighardt on the 'Get Back Sessions'. He is always looking for pre-1980 titles. Feel free to call him at (201) 949-1922. [_Drugs, Divorce, and a Slipping Image_ came out in late 1994, and is available from the author, or through Beatlefest]

The 910's Guide To The BeaTles' OuTTakes


by Doug Sulpy

"... please tell me where to find all outtakes of 'Strawberry Fields Forever' in the best quality. And tell me if outtakes of 'Tell Me Why' exist?"

This guide is essential for serious collectors, as it greatly helps to built up a 'core'collection - it lists all Beatles' songs (studio, live, demos, BBC, TV appearances and Get Back sessions) and names one source for each track which the author thinks is the bestquality source - alternate sources are not listed, even if they are digitally identical, but this is not the scope of this book anyway. Each track gets assigned its unique reference number. The sources listed as "reference sources" are arguable in places. A 2nd revised edition has been released. It now also covers Anthology 2 and a new "Alternate Mixes" chapter. Some errors were corrected and omissions now are included.

Contents (1st edition): Introduction The Studio Sessions BBC Radio Telecasts The "Get Back" Sessions In Concert Home Recordings, Etc. Index The Core Collection

Current edition is 3rd edition

InTroducTion

If you're new to collecting unreleased Beatles recordings, these are a number of questions which may have crossed your mind: 1. What are the best ones to get? - I'll give you my answer to that one in a minute. 2. How many are there? - About a thousand different albums, counting solo stuff, but not counting label and cover variations of records produced from the same master. 3. Where do I get them? - Depends on where you live. If you're on the East Coast, you probably won't have to ask this question. If you're around civilization, check out smaller record stores and flea markets. Buy "Goldmine", and look for ads for record conventions which may be in your area. All of these sources MAY lead to bootlegs. 4. Is it illegal to buy bootlegs? - No. It's not illegal to buy bootlegs.* It's illegal to manufacture them, and illegal to deal in them (which is why you shouldn't post your sources to USENET). *[Editor's note: please check the appendix at the end of this note. Current legal interpretations regarding bootleg ownership may change answer number 4, as far as purchasers are concerned.] 5. Is it immoral to buy bootlegs? - Hell, yes. Right up there with murder, crack-dealing and genocide. If it makes you feel better, remember that it's YOU against those Fascist-anti-Americanrecord-company-lackie-Elliot-Ness-wannabe feeble-minded dweebs at the RIAA. 6. How much should I have to pay? - There are MANY bootlegs. Some are very common. Some are very rare. Still, here's a general guide: $ 8.00 - $30.00 - Pre-1980 U.S. $10.00 - Current U.S. $20.00 - $25.00 - Current European $25.00 - Current CD

$30.00 - $100.00 Out of print CD, depending on title. 7. What's the difference between the above? - Pre-'80 titles generally have paper insert covers, and consist of material which is very often available in much better quality on bootlegs of a more recent vintage. Some collectors (like me!) go for the "old ones". European titles are not necessarily of better quality (although many of them ARE), but are harder to find, and cost more when you can find them. CDs are a worthwhile purchase ONLY if they're mastered from TAPE. Watch out for "Made in Italy" CDs. Many are mastered from old vinyl bootlegs, and sound terrible. Beware of CDs on the Condor label, as well. They're all off speed slightly, and several have been known to physically CRACK! 8. Why should I pay good money for bootlegs when I can trade tapes? - Unlike tape trading circles for other artists, there's VERY little Beatles stuff around on tape that HASN'T been bootlegged. And a tape taken from a bootleg will never be as clear as the bootleg itself. If you're on a tight budget, however... 9. Yeah, but which are the best ones to get? - Okay, Okay, here goes, in no particular order:

a. The Quarrymen At Home (BHH1/2) (European bootleg, 1987. Re-released in


the United States as "Quarrymen Rehearse With Stu Sutcliffe". Also available on Compact Disc.) - This bootleg gives us a fascinating and unique glimpse into the repertoire of the Pre-Beatles, including TWO early versions of "One After 909", and slew of songs available nowhere else. For those who can get past the mediocre and "artificially enhanced" sound quality and occasionally loose performances, this album is a treasure. Just don't mix it up with "Liverpool 1960", a double album of inferior Quarrymen rehearsals. [! A supposedly legitimate issue of this material has been spotted in the cut-out bins of many stores]

b. The Decca Tapes (Circuit Records, LK4438)(Vinyl)


- The Decca Audition tapes first surfaced in the Mid-1970's in a series of 45's. Since then, they've entered "grey market" status, and have been reissued many times (usually re-edited to elongate the songs). The collector, however, will want to stick with the Circuit Records original, since it contains three Lennon/McCartney originals ("Like Dreamers Do", "Hello Little Girl" and "Love Of The Loved") omitted from the pseudo-legal releases. The songs themselves are excellent quality mono, and feature The Beatles performing a number of tracks

unavailable anywhere else, like "September In The Rain" and "Sheik Of Araby". The performances, however, leave much to be desired. [! This tape has been speed corrected, and the entire tape is included as "bonus tracks" to the Vigotone "March 5, 1963" bootleg CD. All previous releases of the material had some songs which sounded up to a semitone "off"]

c. The Beatles At The BEEB (BEEB Transcription Records) - SERIES


- Between 1962 and 1965 The Beatles performed hundreds of songs for the BBC. Most of the best of these have been gathered together in an excellent series (on CD as well). Care to hear John Lennon singing "Honey Don't"? Fantastic live performances of "Some Other Guy" and "Thank You Girl"? Unreleased gems like "Soldier Of Love", "Youngblood" and "Lucille"? This is the place. Be warned, however, that these are vintage mono radio broadcasts, and include between song chatter and an announcer. If you want a compilation of BBC performances, perhaps it would be better to search out "Broadcasts" (Circuit Records LK4450), or "From Us To You" (Swingin' Pig double CD). [! The preferred method of purchasing this material is now the official "Live at the BBC" compilation, and a 9-CD set from Great Dane in Italy, covering every known-to-exist appearance of the Beatles at the Beeb]

d. Stars Of '63 (Swingin' Pig TSP-CD-005) (Compact Disc)


- If you're looking for some early live Beatles with a kick to it, look no further than this set recorded for the Swedish radio program "Pop '63" in October of 1963. This concert has been around since the 1970's, and was one of John Lennon's favorites. Since that time, it has appeared in excellent quality on the vinyl bootleg "Airtime" (Subway Records MX4729), and in superb quality on this CD from Swingin' Pig.

e. Ultra Rare Trax Volumes 1-6 (Swingin' Pig / Condor) - SERIES (Vinyl /
Compact Disc) - Paydirt. Studio outtakes in Master Tape quality. If you're a newcomer to unreleased Beatles, this is probably the material you've been reading about in the media, and hearing on the radio. Unique, fascinating working versions of some of The Beatles' greatest songs, including radically different versions of "Can't Buy Me Love" and "Norwegian Wood". These were originally released as two single CDs on the Swingin' Pig label, and later copied as a single CD named "Back 5

Track". There is NO difference in sound quality between the two, but "Back Track" is now hard to find. The quality and rarity of the selections dips dramatically after Volumes 1 and 2, and the VINYL versions (Vols. 3/4 and 5/6) on "Beeb Transcription Records" offer a much better selection than the later Swingin' Pig CDs. [Editor's note: Material from Ultra Rare Trax, a series which is now out of print, is often found in almost as good quality, if not identical pristinity, on the Unsurpassed Masters series, Volumes 1-7. These should be widely available from most dealers of this type of material.]

f. Live in Paris 1965 (Swingin' Pig TSP-CD-008) (Compact Disc)


- Two excellent concerts from 1965, together on one CD, in excellent sound quality. This is the best representative of post 1963 live performances and, with 23 songs, it's not a bad deal for the money.

g. 1967 ("Parlophone" PCS1967)


- Unlike the other titles on this list, "1967" is a compilation album of material previously available on other bootlegs (A bootleg of a bootleg, if you would). However, it's probably the easiest way for a new collector to get a sample of material available from this era, and includes several demos from "Magical Mystery Tour", as well as an amazing early acetate of "A Day In The Life".

h. "Get Back"
- The original album that later became "Let It Be". This has been bootlegged many times over the years. The best one is a European version from '83 that comes with a printed slipsheet containing Mal Evan's notes about the songs (lifted from 'Beatles Monthly'). Second best is the first "Get Back" CD, skillfully lifted from a clean copy of this vinyl pressing. Beware the "Extended" CD that has the "Let It Be" rooftop concert appended to it, and the latest CD release on "Chameleon". They're both awful. [! Yellow Dog has also released nice ("albeit NoNoised") versions of both this incarnation of "Get Back," and the alternate "Kum Back" tape played on the radio in both Buffalo and Boston. The latter is worth obtaining for the "Posters, Incense, and Strobe Candles" DJ chatter]

i. No. 3 Abbey Road NW8 (Vinyl - horweite stereophonie AR-8-69)


- Just about the only thing to emerge on bootleg from The Beatles' final period. Luckily, the quality on these handful of Abbey Road Demos is generally excellent, and it's quite interesting to hear the rough mix of "Something", with the extended minimalist jam at the end (omitted completely from the legitimate version), and the longer version of "You Never Give Me Your Money", which runs into an improvisation of "At The Hop" (of all things). This material has been bootlegged a number of times. It's listed here as it's first vinyl incarnation, where we find the Abbey Road demos on the A-Side, and some McCartney / Donovan jam sessions on the B-Side. A new collector might find one of the more recent issues more enjoyable, which presents the Abbey Road material with other studio material from that era. [! This has become widely available on CD, with the Adam VIII release among the best. Yellow Dog also incorporated most of this material, along with other "Abbey Road" demos as part of their "Unsurpassed Masters" series]

j. Sessions (European vinyl: ST221)


- "Sessions" is actually a copy of Capitol's attempt at compiling an album of unreleased Beatles tracks, from the early 1980's. As such, it's superb sound quality places it above every other bootleg, except "Ultra Rare Trax". The highlights of "Sessions" include Paul's demo for "Come And Get It" (later given to Badfinger), "Besame Mucho", from The Beatles very first Parlophone session, and the fantastic acoustic version of "While My Guitar Gently Weeps". The original European vinyl pressing sounds better than the U.S. CD, although several of the "Sessions" cuts appear on various other bootleg CDs in better quality (such as "Ultra Rare"). The first compact disc issue of "Sessions" features a different song line-up than the vinyl, omitting several of the best songs, but including a fantastically clear version of "That Means A Lot". This CD, however, was pressed in a limited edition of 500, and is probably too obscure and expensive for the average collector. [! Since reproduced several times on CD. Several recent re-issues (notably one on "Spank") claim to be from the original master tapes, and are indeed better sounding than their vinyl counterparts ] [! Another recent development in the world of bootleg CD's is the prevelance of box sets. In addition to the aforementioned 9-CD "BBC" box set, look for the 5CD "Artifacts" set (a nice overview of Illegal Beatles), the tremendous "Get Back Tapes" set (complete with a miniature reproduction of the original "Get Back" book), and new sets from Yellow Dog.]

T h e B e aT l e s O uT Ta k e s
The Beatles takes and early versions of songs that have been released are still collectables. Some are very common releases such as The Beatles Anthology. The studio sessions which have been taped when The Beatles were rehearsing are found at EMI Studios. Some are never released, others are bootlegged.

The BeaTles AnThology (Official releases)


The Beatles Anthology is the most popular release of the studio sessions of The Beatles. It also includes live performances, TV footage, early demos, a DVD and book release. The Beatles Anthology comes in 5 releases:

The Beatles Anthology 1 The Beatles Anthology 2 The Beatles Anthology 3 The Beatles Anthology DVD The Beatles Anthology Book

Unreleased STudio Sessions


Parish FeTe Evening ConcerT 1957

Baby, Let's Play House

This has been released on the internet for free, some releases are entitled "Puttin' on the Style".

Phillips Sound Recording Service

In Spite of All the Danger (complete 3:25) 8

The Quarrymen demos


One After 909 (with Mike McCartney) (complete 1:42) Well,Darling (complete 5:11) When I'm 64 Winston's Walk Ask Me Why Spoken Lennon nonsense with radio

Please Please Me Sessions


Ask Me Why (takes 1-5) Tip of My Tongue A Taste of Honey (takes 1-4) Do You Want to Know a Secret (takes 1-5) Misery (takes 9-10) Anna (Go to Him) (takes 1-2) Baby It's You (takes 1-2) Misery (takes 12-15 overdub) Baby It's You (take 4 overdub) Baby It's You (take 6 overdub) Thank You Girl (takes 14-28, harmonica onto takes 6+13 takes 17, 20-21 and 23)

McCarTney demos 1964


A World Without Love It's for You

A Hard Day's NighT Sessions


You Can't Do That (takes 1-5) You Can't Do That (takes 7-9) And I Love Her (take 1) You Can't Do That (take 6 overdub) I'll Be Back (take 1) I'll Be Back (take 4-15) It's for You (demo) Slow Down (overdub)

BeaTles for Sale Sessions


Baby's in Black (takes 1-13) Baby's in Black (edit pieces) Mr. Moonlight (take 3) Every Little Thing (takes 1-3) I Don't Want to Spoil the Party (takes 1-18) What You're Doing (takes 1-6) Every Little Thing (takes 5-8) What You're Doing (takes 8-10) What You're Doing (take 12) No Reply (take 1) No Reply (takes 3-7) Eight Days a Week (take 3) Eight Days a Week (take 6-12) I Feel Fine (strumming between takes) She's a Woman (take 5) Eight Days a Week (Take 14 intro edited) Mr. Moonlight (takes 5-7) I Feel Fine (takes 3-4) I Feel Fine (takes 7-8) I'll Follow the Sun (takes 1-7) Words of Love (take 1) Honey Don't (take 1-4) What You're Doing (remake) (takes 13-18)

Help! Sessions

Ticket to Ride (take 1) Ticket to Ride (unused overdubs) Another Girl (edit pieces) I Need You (takes 1-4) Yes It Is (takes 11-13) The Night Before (take 1) You Like Me Too Much (takes 1-7) You've Got to Hide Your Love Away (takes 3-4) You've Got to Hide Your Love Away (takes 6-8) If You've Got Troubles (mono) Tell Me What You See (takes 1-3) You're Gonna Lose That Girl (takes 1-2) That Means a Lot (4 rehearsals) That Means a Lot (take 2) That Means a Lot (take 22) Dizzy Miss Lizzy (takes 1-2) Bad Boy (takes 1-2)

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Dizzy Miss Lizzy (takes 3-6) I've Just Seen a Face (takes 1-5) It's Only Love (take 1) It's Only Love (take 4) It's Only Love (take 5) Act Naturally (takes 1-12) Wait (takes 1-3) Wait (mono)

Rubber Soul Sessions


Drive My Car (takes 1-4) Norwegian Wood (This Bird Has Flown) (takes 1-4) You Won't See Me (takes 1-2) Nowhere man (takes 1-2, 3-5) Think For Yourself (take 1 plus overdubs) The Word (takes 1-3) Michelle (takes 1-2) What Goes On (takes 1 plus overdubs) Girl (takes 1-2) I'm Looking Through You (takes 1-4) In My Life (takes 1-3) Wait (takes 1-4) If I Needed Someone (take 1 plus overdubs) Run for Your Life (takes 1-5)

Revolver Sessions

Taxman (takes 1-12) Eleanor Rigby (takes 1-15) I'm Only Sleeping (takes 1-13) Love You To (takes 1-7) Here, There and Everywhere (takes 1-14) Yellow Submarine (takes 1-5) She Said, She Said (takes 1-4) Good Day Sunshine (takes 1-3) And Your Bird Can Sing (takes 1-13) For No One (takes 1-14) Doctor Robert (takes 1-7) I Want to Tell You (takes 1-4) Got To Get You Into My Life (takes 1-11) Tomorrow Never Knows (takes 1-3)

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SgT. Pepper Sessions


Sgt. Pepper's Lonely Hearts Club Band (takes 1-10) With a Little Help From My Friends (takes 1-11) Lucy In The Sky With Diamonds (takes 1-8) Getting Better (takes 1-15) Fixing a Hole (takes 1-3) She's Leaving Home (takes 1-10) Being For The Benefit of Mr. Kite (takes 1-9) Within You Without You (takes 1-?) When I'm Sixty-Four (takes 1-9) Lovely Rita (takes 1-11) Good Morning Good Morning (takes 1-11) Sgt. Pepper's Lonely Hearts Club Band (Reprise) (takes 1-9) A Day In The Life (takes 1-7)

Magical MysTery Tour Sessions


Magical Mystery Tour (takes 1-9) The Fool On The Hill (takes 1-4, remake takes 1-6) Flying (takes 1-8) Blue Jay Way (takes 1-3) Your Mother Should Know (takes 1-7, 20-30, 50-52) I Am The Walrus (takes 1-17, 18-24) Hello Goodbye (takes 1-22) Strawberry Fields Forever (takes 1, 2-4, 5-6, 7) Penny Lane (takes 1-9) Baby You're a Rich Man (takes 1-12) All You Need Is Love (takes 1-33, 58)

WhiTe Album Sessions


Back in the U.S.S.R. (takes 1-6) Dear Prudence (take 1 with various overdubs) Glass Onion (takes 1-34) Ob-La-Di, Ob-La-Da (takes 1-7, remake takes 1-13, 20-21, 22-23) Wild Honey Pie (take 1) The Continuing Story of Bungalow Bill (takes 1-3 plus various overdubs) While My Guitar Gently Weeps (takes 1, remake takes 1-16, 17-44) Happiness Is a Warm Gun (takes 1-70) Martha My Dear (take 1 plus various overdubs) I'm So Tired (takes 1-14) Blackbird (takes 1-19, remake takes 1-13) Piggies (takes 1-12)

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Rocky Raccoon (takes 1-10) Don't Pass Me By (takes 1-7) Why Don't We Do It In The Road? (takes 1-6) I Will (takes 1-68) Julia (takes 1-3) Birthday (takes 1-22) Yer Blues (takes 1-17) Mother Nature's Son (takes 1-26) Everybody's Got Something to Hide Except Me and My Monkey (takes 1-12) Sexy Sadie (takes 1-21, 25-47, 100-107, 113-117) Helter Skelter (takes 1-3, remake takes 1-21) Long Long Long (takes 1-67) Revolution 1 (takes 1-13, 14-18, 19) Honey Pie (take 1) Savoy Truffle (take 1) Cry Baby Cry (takes 1-13) Can You Take Me Back (improvisation during take 19 of "I Will") Revolution 9 (takes 1-2) Good Night (takes 1-5, 6-15, 34)

Yellow Submarine Sessions


Only a Northern Song (takes 1-12) All Together Now (takes 1-9) Hey Bulldog (takes 1-10) It's All Too Much (outtakes, takes 1-2)

GeT Back Sessions


Notes:

No take numbers since they were not formal Studio Recording sessions, but rehearsals filmed for Let It Be Only songs not listed in the "Let It Be" sessions below, are listed here Some songs were released on later Beatles or Solo recordings Cover versions of songs by other artists are not included here

Original songs:

Adagio For Strings Annie Another Day Back Seat of My Car Because I Know You Love Me So Catswalk 13

Commonwealth Daydream Early In the Morning Enoch Powell Every Night Give Me some Truth Golden Slumbers Hear Me Lord Her Majesty Hot As Sun I Want You (She's So Heavy) I'll Wait Till Tomorrow Isn't It a Pity Junk Just Fun La Penina Let It Down Little Yellow Pills Lonely Sea Lost John Madman Maureen Octopus's Garden On The Road To Marrakesh Picasso Polythene Pam Song of Love Step Inside Love Suicide Sun King Taking a Trip to Carolina Teddy Boy The Day I Went Back To School The Palace of the King of the Birds The River Rhine There You Are Eddie Thinking of Linking Through a London Window Too Bad About Sorrows Watching Rainbows William Smith Boogie Window, Window You Know My Name

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LeT IT Be Sessions
(Note that this album was put together from the above "Get Back" Sessions, and thus some of the songs do not have formal take numbers)

Two of Us (takes ?) Dig a Pony (takes ?) I Me Mine (takes 1-16) Dig It (takes ?) Let It Be (takes ?) Maggie Mae (takes ?) I've Got a Feeling (takes ?) One After 909 (takes ?) The Long and Winding Road (takes ?) For You Blue (takes ?) Get Back (takes ?)

Abbey Road Sessions


Come Together (takes 1-9) Something (takes 1-13, remake takes 1-36, 37) Maxwell's Silver Hammer (takes 1-21, 22-27) Oh! Darling (takes 1-26) Octopus's Garden (takes 1-32 I Want You (She's So Heavy) (takes 1-35) Here Comes The Sun (takes 1-15) Because (takes 1-25) You Never Give Me Your Money (takes 1-36, 37-42) Sun King / Mean Mr. Mustard (takes 1-35) Polythene Pam (takes 1-40) Golden Slumbers / Carry That Weight (takes 1-15, 16-17) The End (takes 1-7) Her Majesty (takes 1-3)

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The BeaTles BooTlegs


The Beatles bootlegs are audio and/or video recordings of musical performances by English rock band The Beatles which were not officially released by the band, or under other legal authority. The Beatles are one of the most bootlegged acts in music history. Bootleg records of the group began showing up in the late 1960s. These bootlegs contained unreleased material that was illegally recorded, stolen or leaked from the band's record label EMI. In the 1980s, compact discs and videos began to replace records as prevalent forms of bootleg material. One of the first Beatles bootleg was Kum Back, which was created from an early acetate put together by engineer Glyn Johns on March 10, 1969. The acetate included rough mixes and versions of songs that would eventually be released on Let It Be. A copy of the acetate had leaked out by September 1969, when radio stations around the country were playing music from the as yet unreleased album. In the fall, the Kum Back bootleg showed up in record stores. Bootlegs of a second mix made by Johns on May 28 also began to hit the black market. Let It Be Sessions (aka the Get Back Sessions) material is still the primary source for Beatles bootlegs. Hundreds of hours of recordings exist featuring the band rehearsing new material, as well as classic rock'n'roll covers. Most of the better-quality, heavily bootlegged songs have since been released (usually in superior quality) on Live at the BBC & The Beatles Anthology CD series.

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Commonly BooTlegged MaTerial


The following is a list of some of the most common bootlegged recordings by the Beatles.

The Quarrymen / Silver BeaTles Era


The Quarrymen Show (The Day John meT Paul), 1957
On Saturday, 6th July 1957 The Quarrymen played a show at summer fete of St Peter's Parish Church. Later that day, a young 15 year old Paul McCartney met John Lennon for the first time back stage. The two were introduced to each other by a mutual friend, Ivan Vaughan (who played tea-chest bass with the group). In 1994, Bob Molyneux, a retired policeman, rediscovered a reel-to-reel tape he had made of the show while experimenting with a Grundig portable tape recorder. The tape contained a poor quality recording of the Quarry Men performances of Lonnie Donegan's "Puttin' On The Style" and Elvis Presley's "Baby, Let's Play House". The tape was put up for auction in September that year and was sold by Sotheby's to EMI for 78,500, making it the most expensive recording sold at auction. EMI attemped to clean the recordings up for the bands forthcoming The Beatles Anthology, but ultimately decided that the recording was still unsuitable to be played on a television program. The full recording has never been formally released. A 30 second clip of "Puttin' On The Style" was released by Sotheby's to promote the auction, this has appeared on several bootlegs since then.

Rehearsals aT Paul's House, 1960


In 1960, the band recorded a tape of music at Paul McCartney's house. The recording featured early versions of many songs that would later be recorded by the band in the studio. A number of songs from this recording were included on the first disc of The Beatles Anthology. Songs recorded include Well Darling, Johnny Johnny, That's The End, I Don't Need No Cigarette Boy, Matchbox, One After 909, Cayenne, Hello Little Girl, That's When Your Heartaches Begin, Wildcat, I'll Always Be In Love With You, Some Days, Hallelujah I Love Her So, You'll Be Mine, The World Is Waiting For The Sunrise, I'll Follow the Sun, You Must Write Everyday, Movin' And Groovin, Ramrod and An Important Number.

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The Decca Records AudiTion Tapes (January 1st, 1962)


A few songs from this recording were included on the first disc of The Beatles Anthology. Most bootlegs include all 15 songs from the original demo; "Like Dreamers Do" (Lennon/McCartney), "Money (That's What I Want)" (Bradford/Gordy), "Till There Was You" (Wilson), "The Sheik of Araby" (Snyder/Wheeler/Smith), "To Know Her Is To Love Her" (Spector), "Take Good Care Of My Baby" (Goffin/King), "Memphis" (Berry), "Sure To Fall (In Love With You)" (Perkins/Cantrell/Claunch), "Hello Little Girl" (Lennon/McCartney), "Three Cool Cats" (Leiber/Stoller), "Crying, Waiting, Hoping" (Holly), "Love Of The Loved" (Lennon/McCartney), "September In The Rain" (Warren), "Besame Mucho" (Velasquez/Skylar), and "Searchin'" (Leiber/Stoller). Due to the questionable copyright status of these tracks (the Beatles had not yet signed to EMI when they were recorded), the Decca tapes were a frequent mainstay of bootleg CDs in the late 1980s and early 1990s. Several Japanese and European discs offered the material in varying configurations. Legal action by Apple, however, soon sent the Decca auditions back to the world of bootlegs. The recordings also were released on numerous vinyl compilation albums beginning in the early 1980s. Most of the bootleg releases omit the three Lennon-McCartney songs. Fourteen of the fifteen tracks appeared on a series of coloured vinyl singles (issued with picture sleeves depicting The Beatles at various points in their career) on the Deccagone label, released in 1978 through Strawberry Fields Forever, Joe Pope's fanzine. The following year, all 15 Decca audition tracks appeared on the Circuit Records bootleg album The Decca Tapes.

The STar Club Tapes


In December 1962 The Beatles did a two-week stint at the Star Club in Hamburg. At that time Adrian Barber made a tape for Ted "Kingsize" Taylor, which re-surfaced in the seventies and became the source for several semi-legal compilations. The tape is rough, but captures a raucous show. Some of the songs, such as "I Saw Her Standing There" and "Ask Me Why", would later appear on Beatles records. There are many of the typical covers, but also some not available elsewhere, such as Arthur Alexander's "Where Have You Been?", Tommy Roe's "Sheila", Frank Ifield's "I Remember You", Marlene Dietrich's "Falling In Love Again" and Fats Waller's "Your Feet's Too Big". The Star Club tapes are historically intriguing for capturing The Beatles performing many of their newer songs with a rawness similar to their pre-fame, Hamburg days. Musically and as characters they allow themselves to be altogether less cuddly than their mop-top personae would soon dictate. As with the Decca Records audition tapes, the Star Club tapes became the basis for several semi-legitimate releases, debuting on the album Live! at the Star-Club in Hamburg, Germany; 1962 (on Lingasong records) in 1977. (The UK and USA versions 18

of this album had slightly different track listings; a later release, The Beatles' Historic Sessions, included all 30 tracks contained between the two Lingasong versions.) The initial releases contained liner notes implying that the recordings had been made in the spring of 1962, on a night when Ringo Starr happened to be sitting in for Pete Best on drums; actually, the recordings date from late December 1962. The December recording date means the rights to the tapes belong to EMI, which signed The Beatles in June 1962. In a letter reproduced in a bootleg CD booklet, John Lennon wrote, "the sleeve note, apart from being inaccurate, seems to have been written with a court case in mind." This continued into the CD era, with a surprising twist: one of the numerous reissues of the Star Club tapes was by none other than Sony, which decided to test the grey-area status of the tapes (most other quasi-legal CD issues were by smaller European and Japanese labels). The release was quickly withdrawn after Apple threatened legal action. Some critics of Sony point to its release of the Star Club tapes as evidence that its antibootlegging/pro-intellectual-property stance only applies to its own intellectual property.

The BBC Sessions


The Beatles regularly recorded live in studio for the BBC. In addition to performing their own material, they often did covers of other artists like Buddy Holly, Chuck Berry, and Ray Charles. These sessions often were passed off as studio outtakes on many 1970s-era bootlegs. The popularity of Beatles BBC discs reached its apex with a celebrated nineCD set by Great Dane Records, which aimed to supplant the varying configurations of BBC discs available on bootleg, while presenting the material in chronological order and in the best quality available at the time. The popularity of this release directly led to the official, Beatles-sanctioned Live at the BBC 2-CD set. While the official disc did collect many of the otherwise-unreleased cover versions performed by The Beatles on the BBC, it did nothing to stem the tide of BBC bootlegs; in fact, collectors and archivists continue to discover new and improved sources for the BBC session material, much of which makes its way into internet bootleg. The current, "most-complete" version is an elevendisc set available for free on the internet.

Live ConcerTs (1962 - 1966)


The Beatles performances at the Hollywood Bowl and Shea Stadium shows, as well as many other concerts, frequently appear on bootlegs. Portions of two Hollywood Bowl shows were compiled into an officially released album, The Beatles At The Hollywood Bowl, released in 1977. Another song from those concerts ("Baby's in Black") was released in 1996 as one of the CD "B-sides" of the newly-recorded "Real Love" single. In recent years, audience live tapes of Beatles shows surfaced according to journalist Peter Palmiere. The most recent are two Memphis, Tennessee shows from the 1966 USA tour. The quality is fair, at best, but any undiscovered concerts documented on audio and/or video is considered a Holy Grail discovery. Also uncovered is a possible recording from the Toronto 1966 show.

19

STudio OuTTakes (1962 - 1970)


A surprising number of Beatles session tapes are available on bootlegs. These range from complete or semi-complete session tapesfor example, the morning sessions for the Please Please Me albumto more fragmentary samplings and/or alternate mixes and performances derived from acetates.

HisTory
The first studio outtake to appear on bootleg was the White Album outtake "What's The New Mary Jane", in 1972. This fell into the hands of bootlegers via an acetate that John Lennon had traded to a friend. Later, in 1977, rough mixes of "I Am The Walrus" and "The Fool On The Hill" appeared due to a Radio Luxembourg broadcast. But it wasn't until 1977 when The Beatles EMI contract had expired that the company reopened the vaults for unreleased material for a future "outtakes" album. The first batch of songs to leak came from an in-house compilation cassette that contained "Leave My Kitten Alone", "One After 909" (the 1963 recording), "If You've Got Troubles", "Christmas Time (Is Here Again!)", "That Means A Lot", "Come and Get It", "Rip It Up / Shake Rattle And Roll", "Not Fade Away" (from the "Get Back" sessions), "Dig a Pony" (the full-length version without the edits). In 1981, in-house engineer John Barrett was given the task of cataloguing the complete collection of recordings from the bands seven-year career with EMI. The fruits of these labours gave way to two projects: an audio/video tour of Abbey Road Studios called The Beatles Live At Abbey Road (which opened on 18 July 1983) and a planned outtakes album which was to be called Sessions, which was cancelled by the surviving members of band. With both the audience recordings of the studio tour and the leaked promos of Sessions a wealth of previously unheard material was now available for the black market. The most common bootlegs to obtain these outtakes included the Ultra-Rare Trax from Swingin' Pig Records and Yellow Dog's Unsurpassed Masters series. In the following years much more was leaked until EMI finally in 1995 released the sixCD Anthology series, which featured many of the mentioned in superior quality.

Home Demos
Rough performances of early versions of songs that were either later recorded by the band or by other artists. Most of these tapes were sent to the band's then-publishing company Dick James Music and Northern Songs and have since found their way via

20

auctions and private sales into the hands of bootleggers. Some of the most commonly found demos include:

"Bad To Me": 1963 Lennon demo written for Billy J Kramer. "I'm In Love": 1963 Lennon demo, written for The Fourmost, early demo. "Don't Bother Me": 1963 Harrison demo. "One And One Is Two": 1964 McCartney demo. "If I Fell": 1964 Lennon demo. "We Can Work It Out": 1965 McCartney demo, partially taped over by Lennon. "Michelle": 1965 McCartney demo. "He Said, He Said": 1966 Lennon demo, early version of She Said She Said. "It's Not Too Bad": 1966 Lennon demo, early version of Strawberry Fields Forever. "Good Morning Good Morning": 1967 Lennon demo. "Across the Universe": 1967 Lennon demo. "You Know My Name (Look Up The Number)": 1967 Lennon demo. "Step Inside Love": 1968 McCartney demo, written for Cilla Black. "She Can Talk To Me": 1968 Lennon demo, early version of Hey Bulldog. "Everybody Had A Hard Year": 1968 Lennon demo, early version of I've Got a Feeling. "Oh My Love": 1968 Lennon demo. "Goodbye": 1969 McCartney demo, written for Mary Hopkin. "Don't Let Me Down": 1969 Lennon demo "Cold Turkey": 1969 Lennon demo.

The WhiTe Album Demos aka The Kinfauns Demos


The Beatles recorded demos of almost the entire White Album with acoustic guitars in May 1968 at George Harrison's Esher house, Kinfauns. The demos also included a number of songs that did not make it to the final album, included:

"Child of Nature": later released by Lennon, with different lyrics, as "Jealous Guy". "Circles": later released by George Harrison on his "Gone Troppo" album. "Sour Milk Sea": a song later recorded by Jackie Lomax as one of the earliest Apple Record singles (written by Harrison). "Junk": later released by McCartney on his McCartney album and a demo recording was also included on "The Beatles Anthology".

The ChrisTmas Recordings


Each year, the Beatles recorded a flexi disc EP of comedy and music that was sent to members of their fan club. After the group's break up in 1970 these recordings were compiled as an LP released via their fan club called From Then To You (The Beatles' Christmas Album in the US). Since this album has had no official general-public release 21

on LP or Compact Disc, portions frequently appear on bootlegs. One song, "Christmas Time (Is Here Again)" was released to the general public in an edited version in 1995 on the "Free As A Bird" single.

The GeT Back / LeT IT Be Sessions


By late 1968, Paul McCartney was eager for the Beatles to perform live again, more than two years after they gave up touring. But McCartney wanted the group to make a grand statement, or rather something unorthodox. At the time, there was a great deal of tension among the Beatles, who had been pursuing a number of personal projects over the course of the previous six months. The group began rehearsals at Twickenham Studios on 2 January 1969. No multi-track recordings were made of these sessions, as the Beatles were rehearsing for the live show rather than attempting to record an album. (Despite this, there are widely available bootlegs taken from the mono recordings that were synchronized to the film cameras.) A number of possible locations for the live show were discussed during the Twickenham rehearsals, with the leading candidates being a Roman amphitheatre in North Africa or a cruise ship. At one point, Lennon sarcastically suggested that they perform in "an insane asylum". Everyone involved in the Twickenham rehearsals considered them to be disastrous. By the third day of rehearsal the group openly discussed whether they should break up. Lennon had all but withdrawn creatively from the Beatles, seldom contributing even to the arrangements of his own songs. Harrison was increasingly resentful; while he was treated respectfully by musical colleagues such as Bob Dylan and Eric Clapton, when working within the Beatles his songs usually were either derided or ignored. McCartney's attempts to hold the band together and rally spirits came across as controlling. The constant presence of Lennon's companion and artistic partner Yoko Ono -- who often spoke on Lennon's behalf as he sat silently by -- was a major source of tension. The intrusive film cameras and the cold, unfamiliar settings of Twickenham Studios also contributed to ill feelings. Finally, Harrison became fed up with Lennon's creative and communicative disengagement from the band, and on 10 January announced that he was "leaving the band now". Within a few days Harrison was persuaded to return to the group, who moved to their own Apple Studios. Multi-track recording began when the group moved to Apple Studios on 22 January, continuing until 31 January. Harrison brought in keyboardist Billy Preston to ease tensions and supplement the band for the live performances. Preston worked with the Beatles from 2231 January. The live concert idea culminated with the Beatles and Preston performing 30 January on the rooftop of the Beatles' Apple Building at 3 Savile Row before a small audience of friends and employees. The performance was cut short by the police after complaints about noise. The complete concert has circulated amongst bootleg collectors for many years. Three numbers recorded at the rooftop concert, namely Dig a Pony, I've Got a 22

Feeling, and One After 909, do appear on the album, while several spoken parts of the concert appear between tracks that were recorded in studio. The band played hundreds of songs during the Get Back/Let It Be sessions. Aside from original songs ultimately released on the Let It Be album were early versions of almost all of the songs that appeared on Abbey Road, including "Mean Mr. Mustard", "She Came in Through the Bathroom Window", "Sun King", "Polythene Pam", "Golden Slumbers", "Carry That Weight", "Something", "Maxwell's Silver Hammer", "Oh! Darling", "Octopus's Garden", and "I Want You (She's So Heavy)". Still others would eventually end up on Beatles solo albums, including John Lennon's "Jealous Guy" (called "On the Road to Rishikesh" at the time and originally written and rehearsed for the White Album) and "Gimme Some Truth", George Harrison's "All Things Must Pass" and "Hear Me Lord", and Paul McCartney's "Teddy Boy" and "Junk" (originally written for the White Album). Much of the band's attention was focused on extended jams on 12-bar blues as well as a broad range of covers. These included classical pieces such as Samuel Barber's "Adagio for Strings", jazz standards such as "Ain't She Sweet", and an encyclopedic array of songs from the early rock and roll era such as "Stand By Me", "Words of Love", "Lonely Sea", "Bsame Mucho" by Mexican composer Consuelo Velzquez (a song that was part of The Beatles repertoire in the early days) and "Blue Suede Shoes". The rehearsals and recording sessions were filmed and formed the basis of the Beatles' film of same name.

The GeT Back albums


After increasing use of overdubs and multi-layered recordings on recent albums, there was at first a consensus to record the new album live. In keeping with the back-to-roots concept, the cover artwork was planned to be an update of the cover of their first album, Please Please Me, with the band looking down the stairwell of EMI's headquarters office block in Manchester Square, London. The photograph was later used on the compilation album 19671970 (aka The Blue Album).

The aceTaTe
Engineer Glyn Johns put together a rough version of Get Back in March 1969, which included many of the same songs that made the final cut, plus McCartney's "Teddy Boy". The track listing for the acetate is: 1. 2. 3. 4. 5. "Get Back" "Teddy Boy" "Two of Us" "Dig a Pony" "I've Got a Feeling"

1. "The Long and Winding Road" 2. "Let It Be" 23

3. 4. 5. 6.

"For You Blue" "Don't Let Me Down" "Get Back (Reprise)" "The Walk"

Johns played the acetate for the Beatles, who were not really interested in the project any longer. At least one copy of the acetate made its way to America and was aired on local radio stations in Buffalo, New York, and Boston in September.

The firsT GeT Back album


In March 1969, John Lennon and Paul McCartney called Glyn Johns to EMI and offered him free rein to produce an album from the 'Get Back recordings. Johns booked time at Olympic Studios between 3 April and 28 May to mix the album and presented the final banded master tape to the group on 28 May. The track listing: 1. 2. 3. 4. 5. 6. 7. 1. 2. 3. 4. 5. 6. 7. 8. "One After 909" "Rocker (Instrumental)" "Save the Last Dance for Me" "Don't Let Me Down" "Dig a Pony" "I've Got a Feeling" "Get Back" "For You Blue" "Teddy Boy" "Two of Us" "Maggie Mae" "Dig It" "Let It Be" "The Long and Winding Road" "Get Back (Reprise)"

The Get Back album was intended for release in July 1969, but its release was pushed back to September to coincide with the planned television special and theatrical film about the making of the album. In September, the album's release was pushed back to December because the Beatles had just recorded Abbey Road and wanted to release that album instead. By December the album had been shelved.

"Rocker (Instrumental)", sometimes listed as "Link Track", was written by Lennon and McCartney. "Save the Last Dance for Me" is the only cover song on the album; the song was written by Doc Pomus and Mort Shuman, and made famous by The Drifters in 1960.

24

The second GeT Back album


On 15 December, The Beatles again approached Glyn Johns to produce an album from the 'Get Back' tapes but this time with the instruction that the songs must match those included in the as yet unreleased Get Back film. Between 15 December 1969 and 8 January 1970, new mixes were prepared. Johns' new mix omitted "Teddy Boy" as the song did not appear in the film (and also likely because McCartney had indicated to Johns that he had re-recorded the song for his upcoming McCartney album). It also added "Across the Universe" (a remix of the 1968 studio version) and "I Me Mine," on which only McCartney, Harrison and Starr performed (Lennon had left the band by that time). "I Me Mine" was newly recorded, as it appeared in the film and no multi-track recording had yet been made. The track listing: 1. 2. 3. 4. 5. 6. 7. 8. 1. 2. 3. 4. 5. 6. 7. 8. "One After 909" "Rocker (Instrumental)" "Save the Last Dance for Me" "Don't Let Me Down" "Dig a Pony" "I've Got a Feeling" "Get Back" "Let It Be" "For You Blue" "Two of Us" "Maggie Mae" "Dig It" "The Long and Winding Road" "I Me Mine" "Across the Universe" "Get Back (Reprise)"

The Beatles once again rejected the album.

Twickenham STudio Rehearsals


In January of 1969, the group got together with director Michael Lindsay-Hogg to film the rehearsals for the bands first live concert in 3 years. They recorded the sessions both as audio and video - planning a TV documentary, then later, an album. Fighting within the group led to most of the plan being scrapped. However the footage from this rehearsals was released the following year instead as a feature film: Let It Be. The Beatles also rehearsed unrecorded songs such as "Watching Rainbows", and several songs that would become Beatles solo material, including "All Things Must Pass" and "Hear Me Lord'" (later released by Harrison), "Gimme Some Truth" (later released by Lennon), "Teddy Boy", "Hot as Sun" and "The Palace of the King of the Birds" (also known as "The Castle of the King of the Birds") (later released by McCartney). 25

From the 1970s, the recordings from the film crew's Nagra tape recorders (which were used to record the audio that would later be synch to film) would be bootlegged many times. Usually, bootleggers would compile the most interesting moments in to a single album release. In the early 1990s, a bootleg company known as Yellow Dog Records created the Day By Day, a 38 part CD series composing the Nagra tape recordings in their entirety. Also, the releases were a big jump in audio quality from the murky releases that had come before them. In January 2003, following an investigation by The International Federation of the Phonographic Industry and London detectives, police raids in England and the Netherlands recovered nearly 500 of the original Nagra tapes. Five people were arrested. After the raid, an online bootleg trader known as Purple Chick continued the Day by Day series and also release their own A/B Road collection.

The RoofTop ConcerT


Although their original plans for a live concert fell through, The Beatles did perform on January 30, 1969 on top of the Apple Building at 3 Savile Row, London. The full performance (which was recorded and filmed for the Let It Be album/film) included the following songs: "Get Back #1", "Get Back #2", "Don't Let Me Down #1", "I've Got a Feeling #1", "One After 909", "Dig a Pony", "God Save the Queen" (which has surfaced on the German bootleg On the Rooftop), "I've Got a Feeling #2", "Don't Let Me Down #2", and "Get Back #3". Portions of this concert were seen in the Let It Be film. Three tracks of this session, namely "Dig a Pony", "I've Got a Feeling" and "One After 909", were used by Phil Spector to compile the Beatles' final album to be released, Let It Be and the complete concert was issued on a number of bootleg releases.

The BeaTles AnThology booTlegs


Some of the releases of the Anthology series consists of bootlegged material yet to be officially released. Some have been bootlegged. This includes:

The Beatles Anthology More The Beatles Anthology Plus The Beatles Anthology 2000 The Beatles Anthology 4 - Advanced Test The Beatles Anthology 5 - Advanced Test The Beatles Anthology 6 - Advanced Test The Beatles Anthology Extra The Beatles Anthology Outtakes 1 The Beatles Anthology Outtakes 2 The Beatles Anthology Outtakes 3 26

A TooT and a Snore in '74 (AfTer The break up)


There are hundreds of bootlegs based on the solo careers of members of the band. However, a noteworthy inclusion is the only known recording of John Lennon and Paul McCartney together after the break up of the group in 1970. A loose jam involving the two (which also included: Stevie Wonder, Harry Nilsson, Jesse Ed Davis and Bobby Keys) was recorded at Record Plant studios in Los Angeles on March 28, 1974. The recording did not surface until 18 years later when a portion of it was released on bootleg as A Toot and a Snore in '74.

MaTerial STill Un-BooTlegged


Although most of the outtakes and unreleased tracks from The Beatles' ten year recording career have leaked from the vaults of Abbey Road Studios, there are still a few holy grails out there that fans are waiting to hear:

Baby, Let's Play House: This Elvis Presley cover is one of two songs recorded during a show at the Woolton fte in July 1957 (on the day John first met Paul) by the pre-Beatles band, The Quarrymen. The second song, Puttin' On The Style, had a very poor quality 30 second excerpt released during the tape's auction in 1994. After extensive audio restoration, excerpts from both songs were included the BBC radio documentary The day John met Paul broadcast on 26th June 2007; hence, this song is unlikely to remain un-bootlegged for much longer. Tip of My Tongue: Several takes of this song were recorded by the Beatles on 26 November 1962 at EMI Studios. Unsatisfied with the results, they gave the song to Tommy Quickly to record instead. Love You To (take 1): In contrast to the Indian-flavoured released version, Take 1 of Love You To featured George Harrison on acoustic guitar and vocals, with Paul McCartney providing occasional backing vocals. At this stage, the song was tentatively titled Granny Smith. Carnival of Light: A 15-minute experimental track recorded during the Sgt. Pepper's Lonely Hearts Club Band sessions. The recording has not surfaced on released or bootleg recordings. Carnival of Light has proved one of the most sought-after unreleased Beatles tracks, and fans were dismayed that The Beatles (especially Paul McCartney), having advanced it for inclusion on Anthology 2, decided to withdraw it as a poor use of 15 minutes worth of disc space, at the request of Ringo Starr and George Harrison. Helter Skelter (take 3): This earlier more bluesy version of the song lasted an epic 27 minutes and 11 seconds. Rumors persisted that the recording no longer existed, but George Harrison mentioned in an interview that he had recently listened to the session tape about the time of the The Beatles Anthology project. Although an edited version of take 2 (4 minutes 37 seconds of its 12 minutes 35 seconds) was released in as part of The Beatles Anthology 3 CD set 1996, take 3 has been long

27

sought after since its first mention in Mark Lewisohn's The Complete Beatles Recording Sessions. (It was actually first mentioned in "The Beatles A to Z" in 1980.) Anything: Recorded during Sgt Pepper on 22 February 1967 (during the overdub session for A Day in the Life). Another experimental recording consisting of 22 minutes and 10 seconds of drum beat, augmented by tambourine and congas. It's unclear whether this was a bed track for one song or an excerpt of another. In any case the track wasn't overdubbed further or even mixed down. Etcetera: During the White Album sessions, Paul quickly recorded this song and no one has heard of it since. Now and Then/I Don't Want to Lose You/Miss You: A song from the reunion sessions in the mid 1990's. Originally a Lennon demo recorded in 1979, the surviving members started work on the song on March 20th and 21st, 1995. The band recorded overdubs for the track; however there was a hum on the original demo cassette that was too difficult at the time to remove. If released, the song would have been a contender for the band's third reunion single and it would have been included on The Beatles Anthology 3 album. Although the song has appeared in its original demo form on bootleg, the recordings from the 1995 session still remain unreleased. Throughout 2005 and 2006, press reports speculated that McCartney and Starr would release a complete version of the song in the future. On April 29, 2007, it was reported in the Daily Express that the song may be released to coincide with the Beatles catalogue being released for the first time via digital download. As of the time of writing, the only available recording of this song is Lennon's original demo (complete with the "electronic buzz" embedded in the recording). The overdubs added in 1995 by the other surviving members has yet to surface. All For Love: Another song from the reunion sessions recorded May 15th and 16th, 1995. The song was written by both Harrison and McCartney, making it the second ever collaboration, after the 1958 composition "In Spite Of All The Danger" (which was later released on Anthology 1.For reasons unknown, the song was shelved. Grow Old With Me: The third unfinished reunion track. Lennon's original demo (recorded in 1980) was first issued in 1984 on his posthumously released Milk and Honey album. Like all the Anthology sessions, tracking took place at Mill Studios in Sussex, England. Recording started from February 11th to early March, 1994 and resumed again on March 20th and 21st 1995. McCartney later said in an interview, "John's original demo required too much work." So, all work on the track was aborted. Although the "Threetles" version of the song has yet to be heard, a version of the demo recording with a newly recorded string section by George Martin was eventually released on the John Lennon Anthology box set in 1998.

28

Fake BooTlegs
A number of songs have been fraudulently passed off by bootleggers as unreleased Beatles songs. These outfakes include:

"I Love You Too": Song by The Fourmost containing a singer that sounds very similar to Paul McCartney "We Are The Moles": Song by Simon Dupree and the Big Sound, and once thought to feature Ringo Starr on lead vocals "Bye, Bye, Bye,": Beatles spoof by radio DJ Kenny Everett "Have You Heard The Word": Lennon soundalike track featuring Maurice Gibb "It's Gonna Be Alright": A hit by Netherland rock group Smyle "Cheese And Onions": A parody song, performed on Saturday Night Live by Neil Innes (and available on The Rutles album and film), with such an accurate impression of John Lennon by Innes that this was mistaken as a true Beatles outtake by some fans "L.S. Bumblebee": 1967 record by Peter Cook and Dudley Moore which spoofed psychedelic music with Moore singing a Lennon-like lead vocal "Ram You Hard": reggae single by a group called John Lennon & the Bleechers "Shades Of Orange" and "Loving Sacred Loving": Both sides of a single by the obscure British psychedelic band The End. Both tracks have also incorrectly been credited to the Rolling Stones (they were produced by Bill Wyman). "People Say" and "I'm Walking": A single by a duo named 'John and Paul' "I Wonder": An uptempo song by the American band 'The Gants'. The lead singer is a Lennon sound alike and the lyrics and instrumentation bear more than a passing resemblance to Lennon compositions, going so far as to even include a very Lennon-esque instrumental break "N. Bourbaki's (or Borbaki's) Multicoloured Jam":The B-side of an obscure single by an Arkansas-based garage band called Campbell's Lavender Circus. "That Thing You Do": The theme from the movie of the same title, as performed by The Oneders "I'm Sad The Goat Just Died Today": A single by the legendary Wisconsin band The Frogs. a National Lampoon parody of John Lennon ranting called "Magical Misery Tour", from the album National "Lampoon Radio Dinner" featuring vocals by Tony Hendra (later the "manager" of Spinal Tap) "Carnival of Light": Although the recording has not surfaced on released or bootleg recordings, a minute-long MP3 track containing backwards, speeded-up guitars and feedback, has turned up on file sharing systems, purporting to be the outtake. Which is actually a misnamed track by the Lord of Boothferry recorded mid-2000. "Peace of Mind/The Candle Burns": Supposedly a demo recorded around 1967 and found by bootlegers in a trash can at Abbey Road Studios. Many audiophiles claim the outtake was either from Pink Floyd or The Pretty Things

29

"Oh, I Need You" (also labeled as "Oh, I Want You"): A low-quality recording sounding much like a Lennon song written during early sessions for the album Abbey Road and purported to have been recorded sometime in February 1969. It is actually believed to have been a song by the band Mortimer who were signed to Apple Records in 1968 after George Harrison heard them play a floor show in the Apple offices. This is most likely why it was mistaken to have been an unreleased Beatles song.

BooTleggers
Some bootleggers have made a point of making their releases look as legitimate as possible. One bootlegger in particular, a fan from New Zealand, Leon Throf, designed each of his bootlegs to look like legitimate Apple Records releases. Also, each of the elaborate covers parodied the cover of an official Beatles album. Throf's titles include "Reintroducing The Beatles", "Please Release Me", "Withered Beatles", "A Knight's Hard Day", "Beatles For Auction", "Fuck!" *, "Rabbi Saul", "Revolting", "Dr.Pepper", "Tragical History Tour", "The Little Red Album", "Mellow Yellow", "Broad Road", "Hey Julian", "Let It End", "Lifting Material From The World", "A Nightmare Is Also A Dream" and "Grave Posts".

30

The Core CollecTion


Label No Label Records Purple Chick Unicorn Unicorn Strawberry Yellow Dog Yellow Dog Unicorn Silent Sea Spank Vigotone Sweet Zapple Audifon Silent Sea Silent Sea Vigotone Darthdisc Vigotone Spank Yellow Dog SS049-50 SP148 VT180 SZ015-6 AF-014 SS005 SS113/4 VT6869 RAR0001 VT122 SP145 YD070/71 Catalogue No. NLR-0001 A/B Road UC082 UC084 STR020 YD009 YD080/081 The A.M. Tape A/B Road The Abbey Road Tape Vol.1 The Abbey Road Tape Vol.2 Abbey Road Video Show Acetates Acetates Acetates Collection Addendum One: 1957-1964 Alf Together Now Another Sessions ...Plus Another Tracks Of Magical Mystery Tour Anthology Anthroplogy Around And Around Arrive Without Aging As It Happened, Baby! As Nature Intended Atlanta '65 * Munich '66 * Seattle '64 Ausralian Tour 1964 Title Comments CDR 81 CDR CDR CDR CD CD 2CD CDR CDR CDR CDR 2 CD CD CDR 2CDR CD CDR CD CDR 2CD

His Master's Choice HMC001 Silent Sea Bulldog Secret Garden Unicorn MBE JFC Records and Tapes Yellow Dog None BGCD006 45R-0420 UC088 MBE002 JFC006 YD006

The Beatles and The Great Concert At Shea! 2CD Beatles Complete January 1- to September 5 CDR 1962 Beatles In Italy 1965 Beatles In Montreal , 1964 Blackpool Night Out '64 (Upgrade) CD CD CDR

Bravo Beatles Blittournee In Germany ,1966 CD (Second Version) Can You Hear Me? Celluloid Rock CDR

31

Cinelogue - Let It Be Darthdisc Purple Chick Yellow Dog Yellow Dog Yellow Dog Midnight Beat Yellow Dog Yellow Dog Why Not Yellow Dog Condor/ Toasted Unicorn TARKL NONE Vigotone Roaring Mouse Various Vigotone Midnight Beat B4 Records Masterfaction Silent Sea Silent Sea Silent Sea Silent Sea Silent Sea Spank Beat Pegboy SP110 BEAT CD 017 PB1008 VT182 MBCD113 FF001 012/013 SS076-7 SS078 VT183/4 DPRO 79971 YD083-4 YD085-6 YD034 MBCD109-109 YD072/3 YD032 WN3002 YD2001 UC068 DD007/8 City Of Lights Complete BBC Session Upgrade 2004 Complete Control Room Monitor Mxes Vol.1 Complete Control Room Monitor Mxes Vol.2 Complete Hollywood Bowl Complete Hollywood Bowl Concerts 19641965 The Complete Rooftop Concert Control Room Mixes Danmark & Nederlands June 1964 A Day In The Life Down In Havana E.M.I Outtakes Five Point Wonderful From Kinfauns To Chaos From Me To You Get Back Get Back -The Glyn John's Final Compilation Gone Tomorrow, Here Today Help Sessions Help Original! Mix Home Tapes Vol.1 Home Tapes Vol.2 Home Tapes Vol.3 Home Tapes Vol.4 Home Tapes Vol.6 In Case You Don't Know It's All In The Mind You know It's Not Too Bad John Barratt's Reel

Vinyl 2CDR 10 CDR 2CD 2CD CD 2CD 2CD CD CD CD CD CDR Vinyl 8CDR 2CDR CDR

CONDOR 1987 Dig It

CD CD CD 2CDR CDR CDR CDR CDR CD CD CDR CD

32

None Silent Sea Vigotone FLO Purple Chick Vigotone Savage Records Silent Sea Yellow Dog European Digipak Yellow Dog Roaring Mouse Strawberry Vigotone Vigotone Darthdisc Condor/ Toasted Spank Vigotone Masterdisc Black Dog Red Square Vigotone Masterfraction Several Masterdisc Silent Sea Unknown Spank Swinging Pig YD2004 Quarry 60 YD2005 DPRO 79974-6 STR008-18 VT165 VT116 None SS025 VT132 Flo006 PC060 VT123

Kaleidoscope Liverpool 63,12,07 Washington 64,02,11 Lost Pepperland Reel Make As Much Noise As You Like Meet The Threetles March 5, 1963 Plus The Decca Tape Mach Shau! Melbourne 64.06.16 Melbourne 64.06.17 Message To Australia Might As Well Call Us Quarrymen Miscellaneous Tracks More Masters Mythology Vol.1-3 NME Poll Winners' Concert No.3 Abbey Road N.W.8 Northwest Nights O.P.D SP104 VT109 MDCD009 BD009 RS02 VT117 mfcd010-11 Several Jap 1 MDCD006 S133-134 ST12373/4 SP109 TSPCD005 Peter Sellers Tape Posters, Incense And Strobe Candles Primal Colours Puttin' On Style Rare Tracks Revolution Revolver Mono Matrix 1 Road Runner Rumitape And More Secret Songs In Pepperland Sessionography Sessions Shea! / Candlestick Stars of '63

2CDR CDR CDR CDR CDR CDR Vinyl CDR CD CD CD 3CDR 10CD CDR 2CDR CD Vinyl CD CD CD CD CD CDR CD CDR CDR Cloned 4CDR 2 LP

CONDOR 1986 Not For Sale

33

Tobe Milo Silent Sea Silent Sea Non Plus Ultra Vigotone Brown Nose Vigotone Yellow Dog Yellow Dog Yellow Dog Yellow Dog Yellow Dog Secret Trax Swinging Pig Swinging Pig Yellow Dog Yellow Dog Yellow Dog Yellow Dog Yellow Dog RAR Beatle Boots Martha Records JFC Records and Tapes Silent Sea RZR

TMCD8Q30s SS019 SS021 NPU-B-01/04 VT178-179 BN01 VT172-3 YD2003 YDB101-4 YDB201-4 YDB301-4 YD038/39 ST200020 TSPCD001 TSPCD002 YD003 YD004 YD005 YD012 YD013 RAR 007 KAS xxx Martha 0004 JFC005 SS011-14

Studio Sessions Telecasts 1 Telecasts 3 Tokyo Highway '66 Turn Me On Dead Man Two Track Mind Ultimate Beatles Christmas Collection Ultimate Christmas Collection Ultimate Collection Vol.1 Ultimate Collection Vol.2 Ultimate Collection Vol.3 Ultimate Live Collection Vol.1 Ultimate Live Masters Ultra Rare Trax Vol.1 Ultra Rare Trax Vol.2 Unsurpassed Masters Vol.3 Unsurpassed Masters Vol.4 Unsurpassed Masters Vol.5 Unsurpassed Masters Vol.6 Unsurpassed Masters Vol.7 Video 1 Vinyl to The Core Upgrade Visit To Minneapolis & San Francisco Warts 'n' All We'd Like To Carry On White Sessions Z Is For Zapple!

CDR CDR CDR 4 CD 2CDR 2CDR CD 4CD 4CD 4CD 2CD 2 CD Cloned Cloned Cloned Cloned Cloned Cloned Cloned CDR 3CDR CDR

Flash Of Lightening FL026

CDR 4CDR

34

CompleTe BeaTles Audio Guide (2006) Doug Sulpy


by Admiral Halsey (Penny Lane Forum)

1. - Tony Sheridan sessions / Decca audiTion


Purple Chick leads the way with "I hope we passed the audition", which includes the 6th June EMI session. This is notable for the (supposedly) speed corrected Decca songs. For the "Sheridan" fans, my vote goes with "Beatle Bop", a tour de force of these sessions (mono/stereo/medley edits/re-mixes). This is also Sulpy's choice. Sulpy suggests: (official) Beatle Bop (Bear family records) Anthology 1 (bootleg) Ultimate collection vol 1 March 5th 63, plus the Decca tape

2. - Please Please me
For a quick fix solution to the entire Please please me sessions, the one stop shop is the Purple chick release. This is with the exception of the 6th June recording of Love me do, available on Anthology 1. The list of individual "core" albums is as follows: (official releases) Please please me (Stereo/Mono) Anthology 1 Past masters 1 Free as a bird cd single Please please me/Ask me why single (bootlegs) Ultimate collection vol 2 (Yellow dog) Not for sale (Condor) If you don't have a vinyl collection you'll need Dr Ebbetts for the 1963 single and the UK stereo album The 6 June 1962 session is also available on PC's "I Hope We Passed The Audition," which is part of their Deluxe series.

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3. - WiTh The BeaTles


Again, if you're just after every mix/track, look no further than Purple Chick for deep joy! The list of individual sources is as follows: (official releases) With the beatles (Mono/Stereo) Beatles Greatest (German/Dutch) for All my loving with Hi hat intro (Bootlegs) Alf together now (Vigotone) Studio sessions (Tobe Milo) Again Dr Ebbetts is the suggested source for the Stereo album in the absence of vinyl.

4. - A Hard Days NighT


Again Purple Chick surpass themselves in their presentation of AHDN. The most notable omissions are the 5.1 separations from Anthology. The list of required individual sources is as follows: (official releases) A Hard Days Night (mono/stereo/USA soundtrack) Something new (USA mono) Beatles' 65 (mono) Something new (German) OR US Rarities (for And I love her) (bootlegs) Ultra rare trax vol 2 (Swinging pig) Unsurpassed masters vol 7 (Yellow dog) complete control room monitor mixes vol 2 (YD) Vinyl to the core Five point wonderful Two track mind (brown nose) It's all in the mind Y'know (Beat) Abbey road video show (Strawberry) Ultimate collection vol 3 (YD) (It's worth pointing out here that Purple Chick has used all the suggested sources in the compilation of the Deluxe series) Dr Ebbetts is the obvious choice for the stereo album in the absence of a record deck.

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5. - BeaTles For Sale


Again, with the exception of a handful of 5.1 separations, Purple chick deluxe features all available tracks/mixes. For individual sources see below: (official) BFS (mono/Stereo) (Dr E. for stereo) Anthology 1 (bootlegs) Two track mind Five point wonderful Ultimate collection vol 3 (YD)

6. - Help!
If you already have Purple Chick Deluxe, EMI's stereo remix cd, and Five point wonderful you have it all, if not-read on The complete list of "Core" albums is as follows: (official) Help! (original stereo/mono/EMI's stereo remix cd 1987) Anthology 2 (bootlegs) Ultimate collection vol 3 (yellow dog) Abbey road video show (Strawberry) Help! (original mix) (masterfraction) Video 1 Vinyl to the core Help sessions (B4) Two track mind Five point wonderful German "Anthology" bootleg The Help! theatrical trailer is on "It's all in the mind Y'know"

7. - Rubber Soul

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For those of you sticking with Purple chick, you'll also need EMI's stereo remix cd from 1987, Kaleidoscope, and Five point wonderful for a "full house". Those fancying a challenge see below! The complete "core" list is as follows: (official) Rubber Soul (mono/Stereo/1987 remix cd) Capitol box set cds Anthology 2 Yellow Sub. Songtrack (boots) Arrive without aging (vigotone) Another sessions plus Turn me on dead man Ultra rare trax vols 1/2 Kaleidoscope Five point wonderful Two track mind Unsurpassed masters vol 7 Ultimate collection vol 1 More masters (roaring mouse) From me to you (roaring mouse)

8. - Revolver
For the quick fix, Purple Chick has everything bar the 5.1 separations found on Kaleidoscope and five point wonderful. The complete "core" list is as follows: (official) Revolver (mono/stereo) Yesterday and today (mono/stereo) Anthology 2 Yellow Sub. songtrack Real love cd single Revolver (impossibly rare matrix no UK original album, for Tomorrow never knows)(don't bother though, it's on PC deluxe! and Turn me on dead man) (bootlegs) Kaleidoscope Two track mind Five point wonderful control room monitor mixes

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Complete control room monitor mixes vol 2 Abbey road video show As it happened baby

9. - SgT. pepper's lonely hearTs club band


Yet again, Purple Chick's deluxe set is only missing a few 5.1 separations. Look no further than Five point wonderful and Kaleidoscope to fill the gaps. The full "core" list is as follows: (official) Sgt Pepper Lonely Hearts Club Band (mono/stereo)(use the good Dr's mixes if you don't have vinyl) Yellow Submarine Songtrack Anthology 2 "Imagine: John Lennon" soundtrack (bootlegs) Acetates (both versions) (YD) Kaleidoscope Five point wonderful Two track mind Secret Songs in Pepperland or Lost Pepperland Reel Arrive Without Aging Abbey Road Video Show A Day in the Life (YD) As It Happened Baby

10. - Magical mysTery Tour


This release follows the USA album and its (much later) UK couterpart track listing. Offhand, I don't know how Purple Chick fares on this one, so I'm going with "Sulpy's" guide only here. To complicate matters Strawberry fields forever is not included on PC's release of MMT, but on Sgt Pepper. A quick check of PC suggests that you'll need the deluxe version for some previously unbooted stuff, not listed by Sulpy. It's pretty safe to say the the PC deluxe set is fairly comprehensive. I wouldn't blame anyone if they threw in the towel after picking up the deluxe set alone! (official) Magical Mystery Tour (mono/stereo EP's/USA stereo album) I am the Walrus and Penny Lane (USA singles) (Use Doc Ebbets USA singles collection here) Anthology 2 39

Yellow Submarine Songtrack (boots) Acetates 2002 edition Ultimate collection vol. 1 Unsurpassed masters vol. 3 Complete Control Room Monitor Mixes Vol. 2 Miscellaneous Tracks (YD) Lost Pepperland Reel It's Not Too Bad Turn Me On Dead Man Two Track Mind Five Point Wonderful Abbey Road Video Show Secret Songs in Pepperland More Masters It's All in the Mind Y'know Another Tracks of Magical Mystery Tour Rumitape and More As it Happened Baby Video 1 Sessionography Four It's time to cross reference PC on this one now

11. - The BeaTles (WhiTe album)


For a start Purple chick deluxe has a whole bunch of tracks listed as "unbooted", in the main these are (strictly speaking) unbooted "sources", not unbooted tracks. In addition there are take numbers and tracks listed on the PC release that are not listed by Sulpy. So, for my money, you need PC deluxe and more. I think that most outtakes/mixes are on the "chick" set. Many of us will call this good and quit. As usual, notable exceptions include the "Five Point Wonderful" set The albums below are those listed by Sulpy as "core": (official) White album (mono/stereo) (again Ebbetts suggested source for non EMI issue on cd) Anthology 3 (Bootlegs) Revolution Kinfauns to chaos Turn me on dead man Arrive without aging

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Peter Sellers tape Gone tomorrow here today control room/complete control room monitor mixes A day in the life White sessions Abbey road tape vol 1 Abbey road video show Two track mind Five point wonderful Primal colours Down in Havana In addition there's the "Revolution" take/mix not listed by Sulpy from the recent Japanese vinyl only bootleg. I'll be honest, Sulpy has said he doesn't want his next book to read like an advert for Purple Chick, but it will be hard to avoid it

12. - Yellow Submarine


There is no PC deluxe set for YS. However, many of the tracks feature on other PC sets. The list of albums needed is set out below: (official) Yellow Submarine (Mono/Stereo)(note there is no "true" mono album as this was a fold down of the stereo mix) Yellow Sub songtrack Anthology 2 (Boots) Secret songs in Pepperland Lost pepperland reel (features some "true" mono mixes!) Kaleidoscope (5.1 separations) It's all in the mind y'know

13. - Abbey Road


Again Purple Chick comes to the fore with a three disc set. However, for those of us wishing to turn to the original source material, see the lists below. Official sources: Abbey Road (EMI) Anthology 3 (EMI) Bootlegs: 41

Acetates 2002 (Yellow Dog) Unsurpassed masters vol5 (YD) A Day in the life (YD) No3 Abbey Road NW8 (Vigotone) Turn me on dead man(Vigotone) Two Track Mind Five Point wonderful Rare Tracks (Red Square) Abbey Road tapes vol 2 (Unicorn) As it happened baby *note, all of the above sources are cited in the PC release, with the usual exceptions of FPW and Two track mind.

14. - LeT iT be
Let it be is a mess, not only in the noise created by the boys, but in the huge number of hours recorded! Firstly, the "Get Back" sessions:- Sulpy recommends the Purple Chick A/B Road set. Purple Chick also did a sterling job for the official album, with a six disc set. For the official "Let it be" album tracks: Let it be (EMI) Let it be -Naked (EMI) Anthology 3 (EMI) Bootlegs required: Get Back (Ebbetts) Get back Glyn Johns final mix (Vigotone) Posters incense and strobe candles (Vigotone) Get back-John Barrets reel O.P.D (I think this is vinyl only release) Cinelogue (Soundtrack- I think this is on the forum as a Video/DVD rip) Vinyl to the core Acetates 2002 (Yellow dog) Dig it (Condor) Two track mind Five point wonderful *There are many tracks from these sessions mentioned in the "miscellaneous sessions" section of Sulpy's guide which are featured in the Purple Chick release. Therefore, there will be some overlapping of sources. Again, note that the majority of soucres listed above feature on the PC six disc set.

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15. - Xmas Messages / From Then To you


Purple Chick doesn't have it all, what you need is: From then to you (an original would be nice, but most of us will be satisfied with a boot!) The ultimate Christmas collection (two different versions on Vigotone and yellow dog) As it happened baby (for Xmas time is here again long version, this is also found on PC's MMT Year set) Note:- the rare 1965 "speech" found on YD2003 is also found on Introducing Martha Note also:-The PC xmas set features tracks listed by Sulpy as unavailable

16. - PasT MasTers 1


This mops up all the early singles and EP tracks. To avoid too much duplication, check out your Purple Chicks for the first few albums. *note, PC adds all singles to the nearest LP release. Official sources: Past masters 1 Uk singles and EP collection boxed sets (EMI) Capitol albums boxed set Free as a bird cd single Anthology 2 I want to hold your hand (Australian vinyl single) (found on PC With the Beatles) German language single (Fortunately, also on PC release, A hard days night) Bootlegs required: March 5 , 1963 plus the Decca tape(Vigotone0 Turn me on dead man(Vigotone) Ultimate collection volume 3 (YD) Two track mind Five point wonderful Abbey road video show Vinyl to the core Anthology (German Audiphon release) Acetate collection (Unicorn) Help! original mix (Masterfraction) It has to be said (again!) that excepting Five point wonderful, all versions/mixes of the featured tracks are found across the Purple Chick releases

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17. - PasT masTers 2


Past Masters 2 and its associated versions/mixes comes in a slew of releases. I wish I could say that purple Chick would serve alone, but I can't. Official releases needed: Past masters 2 Anthology 2 and 3 Let it be + Naked Yesterday and today (US stereo/? Ebbetts) Hey Jude (US album) UK singles collection boxed set Bootlegs needed: As nature intended(Vigotone) Posters, incense and strobe candles(Vigotone) Gone tomorrow, here today(Vigotone) Revolution (Vigotone) Complete control room monitor mixes (Yellow dog-both volumes) Ultimate collection volume 3 (YD) Unsurpassed masters vol 4 (YD) A day in the life Abbey road video show (strawberry) Mythology vol 3(Strawberry) Dig it (NEMS-Vinyl) Two track mind Five point wonderful Ultra rare trax vol 1 (Swinging pig) Get back John Barretts reel Cinelogue Let it be soundtrack Video 1 Get Back (Ebbetts) White sessions (Silent sea)

18. - Miscellaneous sessions


This section covers tracks not released until Anthology (e.g. Kitten/12 bar original), other oddments (Fuck a ducky/Brian Epstein blues), Get back session mixes (Teddy Boy/Shake rattle and roll) and "Threetle" sessions. Official sources: Anthology 1,2 and 3 Unofficial, are you ready for this? Yellow Dog:- Celluloid rock, Complete control room monitor mixes vol 1, Unsurpassed masters 4, Miscellaneous tracks, Acetates 2002. 44

Vigotone gives us:- Alf together now, Another sessions plus, Turn me on dead man, Arrive without aging, Gonee tomorrow here today, Peter seller's tape, Posters incense and strobe candles. As it happened baby Mythology 3 Ultra rare trax 1 and 2 Studio sessions Vinyl to the core Two track mind Five point wonderful More masters White sessions From me to you Abbey road video show EMI outtakes (Vinyl) Acetates collection Down in Havana Get back Cinelogue Get back John Barrett reel Meet the Threetles

19. - Television Shows / BroadcasTs


Telecasts might sound tidy, but being British I'll stick with the English term of Broadcast. Those of you outside of the UK, used to seeing the term BBC, may be unaware that it stands for British Broadcasting Corporation. Precious little audio from TV shows has been officially released, included on the Anthology sets 1 and 2. Unofficial sources include: Beatles complete Jan 1 to Sept 5 1962 Telecasts 1 and 3 Anthropology Liverpool 7 Dec 1963 Washington 11 Feb 1964 Around and around Addendum 1 White sessions (all above =Silent sea) Can you hear me We'd like to carry on Mythology vol 1

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Ultimate live masters Ultimate collection vol 1Blackpool night out (upgraded by Unicorn) In case you don't know The N.M.E. pollwinners concert Revolution Video 1 Two track mind Five point wonderful In addition to the suggestions by Sulpy listed above, we must also turn to Lazy Tortoise for the Pops and Lenny show (16 May 1963), found on April to August 1963. Lazy Tortoise is, of course, the suggested alternative source for much of the live material, being as it gathers together the audio within set time frames. We cannot leave this subject matter without considering DVD/Video as, obviously, if film exists of a Beatles' performance we should endevour to see it. The list below is my own selection (Sulpy only mentions DVD where it offers a superior, or otherwise unavailable, audio track). I'm assuming you all have the Anthology DVD set: The Beatles live at Shea The Ed Sullivan shows were released a few years back on DVD The Beatles Around the world features Washington, Tokyo, and Around the Beatles Washington also features in The first US visit, which also includes a great documentary

20. - In concerT
This area is a bit of a minefield, mainly due to the huge number of bootlegs available. Whilst Sulpy's book remains the "grail", there have been many significant new releases since the current edition. My, obvious, choice of boots not listed in the book are those by Purple Chick and Lazy Tortoise. Anyway the recommended list goes something like this... Official releases: Live at the Star club (Lingasong and US vinyl). This has, of course, been superceded by the recent PC release, though completists will require both mixes. Hollywood Bowl (EMI vinyl) Beatles Story (Vinyl) Anthology 2 Real love cd single Bootlegs: Visit to Minneapolis and San Francisco Bravo Beatles Britzournee

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Mythology vol 2 Tokyo Highway 1966 Can you hear me We'd like to carry on Road Runner Mach Shau (Vinyl) Make as much noise as you like City of light Northwest nights Puttin' on the style Miscellaneous tracks Message to Australia Ultimate live collection vol 1 Hollywood Bowl complete 1965 stereo 1964 mono Complete Hollywood bowl concerts box set Addendum one Liverpool 7/12/1963 Washington 11/2/64 Melbourne 17/6/64 Denmark and Nederlands june 64 Beatles in Montreal 1964 Beatles in italy 1965 The A.M. tape Vinyl to the core Shea, candlestick and Atlanta 65 Munich 66 Seattle 64 In addition to the suggested lists are the Purple chick releases, Strong before our birth and the Star Club sets. There is also the recent Shea undubbed release "The great concert at Shea". It is also worth noting that somewhere in the region of 75% of the live material has appeared on Lazy Toroise releases, making many of these concerts more readily available. Most notable LT discs are the complete Memphis shows (North USA tour diary disc 4).

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OuTTakes & Demos Rare BeaTles Songs


20x4 - An interesting collection of tracks by The Beatles, John, Paul, George and a rare Ringo Japanese promo advertisement along with a Paul/Wings rarity ""Hi Hi Hi / C Moon" advertisement.. Several "Outfakes" make this title a real find. The sound quality suffers a bit but still acceptable considering this is a 1981 release. Vinyl source. 30 Days (17CD) - The Ultimate Get Back Sessions Collection A/B Road - The Beatles complete "Get Back" Sessions. (Jan 2, 1969 thru Jan 31, 1969) A massive and expertly assembled collection of 83 disks by the good folks at "Purple Chick". Incredibly complete and with excellent mono sound from the Nagra tape rolls. All A/B rolls were edited together, closing the gaps whenever the audio tape would run out. Purple Chick has also edited out the synch beeps whenever possible leaving as much uninterrupted material as possible. This is a must have set! MP3 format 3 dvd's. 1-02-69 (2CD)...1-03-69 (4CD)...1-06-69 (5CD)...1-07-69 (4CD)...1-08-69 (4CD)...1-0969 (5CD)...1-10-69 (4CD)...1-13-69 (3CD)...1-14-69 (3CD)...1-21-69 (3CD)...1-22-69 (4CD) 1-23-69 (4CD)...1-24-69 (4CD)...1-25-69 (6CD)...1-26-69 (6CD)...1-27-69 (6CD)...1-28-69 (6CD) 1-29-69 (4CD)...1-30-69 (2CD)...1-31-69 (4CD) Abbey Road Deluxe Edition (Purple Chick) Abbey Road NW8 Source Tape (Darthdisc) - From the Darthdisc Archives: one of the classic vinyl boots, featuring alternate mixes and outtakes from the "Abbey Road" sessions, as well as a visit with Paul and Donovan, from a session for Mary Hopkin's "Postcard" album - now on CD for the first time from a tape source (previous transfers have been from vinyl). This title is the much needed replacement for item No. 3 Abbey Road NW 8. Acetates (2CD) - Contains never-before-heard acetates that the Beatles presented to United Artists during the pre-production of 'A Hard Day's Night' and 'Help!' WOW! Acetate Collection - From the Booklet: This CD brings together a collection of Acetates from 1961-69. Some tracks here make their debut to CD and have remained previously unreleased until now.Firstly an MGM/Verve Acetate of The Beatles June 24, 1961 recording of "Ain't She Sweet"; followed by two 7", 1 sided Emi-disc Mono Acetates of "She's A Woman". The first being take 6, the released take, but the second compiles a false start and take 7, these acetates were probably cut the same day as the mono mixing for "She's A Woman" on October 12, 1964. This is followed by an 8" stereo Capitol Acetate of "Paperback Writer", take 2, the same as the released take. The last three tracks have been taken from a 'Cutting Room Inc.' 1 sided stereo acetate. The first two recordings from this disc have appeared on previous Bootlegs over the years, most notably on "What A Shame, Mary Jane Had A Pain At The Party", a 12" Bootleg E.P

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released in 1979 on a fake EMI label. For some unknown reason the third song was not included here and has remained unreleased. Here for the first time on CD is included that 'Edit-Version' of "What's The New Mary Jane". Acoustic Submarine (2CD) - 39 acoustic outtakes and tracks by The Beatles on two disks. This is primarily the alternate takes (wonderfully done) of the classic song; "A Day in the Life". Another excellent Yellow Dog release. Most of the differences are longer intros and fades but it's nice to have all these variations in one place. The sound quality is excellent as all the mixes have a flatter, less processed sound which is a plus. A Hard Day's Night Deluxe Edition (Purple Chick) Alf Together Now - An audio time capsule of the early Beatles as recorded by their chauffeur Alf Bicknell. If there exists a collection of recordings that you need in order to complete your collection, THIS IS IT! Another Sessions Plus - An alternate "Sessions" album thanks to mixes made by John Barrett in 1982 for the Abbey Road-Road show. These mixes are better than what appeared on the Anthology releases. Anthology 4 (Advanced Test)(2CD) - Includes Studio Outtakes / Demos 1957-1964. Nice collection of Anthology tracks all in one place. A fantastic follow up to the leftovers of the ANTHOLOGY series. Anthology 5 (Advanced Test)(2CD) - Alternate Versions / Rare Tracks 1965-1968. Nice collection of more Anthology tracks all in one place. Anthology 6 (Advanced Test)(2CD) - The White Album & Get Back Sessions 19681969. Nice collection of many more Anthology tracks all in one place. The last follow up to the ANTHOLOGY leftovers. Anthology Extra - The Beatles Anthology Extra-CD brings you MORE of the best still unreleased studio-outtakes, home-demos and live-recordings. This compilation was designed to be an authoritative addition to the ANTHOLOGY-series. Into your home and onto your ears! Comment from a fan...It's a great buzz to be a Beatleg hunter & to have heard literally EVERYTHING there is to hear & to suddenly find a album with stuff on it you've never heard before...for me this was one of those moments! Anthology Outtakes (4CD) - The Best Of and The Rest Of the left-over "Anthology" tracks. Some interestingly rare songs that were somehow left off of the official Anthology releases. This title comprises the best sources available at this time. Sound quality is overall excellent. Vol 1, Vol 2, Anthology Plus (2CD) - The three official "Anthology" double cd's have some "unofficial" sequels...The double cd "Anthology Plus" is the first one. It was followed by another double cd "Anthology More" and then a single CD "Anthology Extra". The

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Liverpool material is new to disk or a major upgrade from Anthology 3. Anthology Plus is a disk worth seeking out, it compliments the official Anthology series with all the bonus tracks. The 8 minute version of "It's All Too Much" and Paul's vocal on "She's So Heavy" make this disk worthwhile. Arrive Without Aging - Many of the tracks on this bootleg appear here for the first time (although in varying quality compared to later releases). However, a nice collection of rarities, outtakes and demos. GREAT! As It Happened, Baby (The Boardroom Tape) - Rehearsals, playbacks, monitor mixes, home-demos. You'll hear it all exactly "As It Happened, Baby!" The Boardroom Tape: Get a sneak peek behind the scenes as the EMI bigwigs audition some unheard Fab 4 numbers. Back Track (3CD) - The legendary "Back Track" set Re-Mastered and guaranteed to please. This "unknown publisher" title was released in the late 80's and quickly gained a tremendous following. Very ahead of its time and loaded with incredibly rare tracks that still amaze Beatle fans to this day! NICE! Beatles For Sale Deluxe Edition (Purple Chick) Celluloid Rock - A really great disc and certainly one of the best of the early yellow dog titles. This is probably the most enjoyable cd of Get Back material to listen to for a Beatles fan that hasn't taken the dive into the sessions yet. Complete Home Recordings 1958-1962 (2CD) - Incredible and historic recordings from 1958 as recorded by John, Paul, George, Colin Hanton and Duff Lowe - the original Quarrymen. Songs include the only Paul/George composition; In Spite Of All The Danger with Stu Sutcliffe on bass! Pre-Beatles for sure. Sound quality is typical of the home recordings from 1960(?) fair to poor quality but definitely worth it. Complete Home Recordings 1963 - Another Silent Sea release and worthy of their reputation. Authentic home tapes as recorded by the group and other segments caught in private moments. Examples are: Songs being rehearsed at John's home in Liverpool in Early 1963, Silliness at the Royal Pier Hotel in Weston-Super-Mare. Beatles with Gerry Marsden, Fragments and an early rendition of Michelle July-August, 1963 at various locations and George being recorded in August 19-24, 1963 in a Bournemouth hotel room. Good Stuff indeed! Complete Home Recordings 1964-1966 - Another Home series by Silent Sea. Great set if you're looking for the Santa Isabel demos of Strawberry Fields. In addition, this set contains the Mellotron improvisation tracks recorded by John in June-August, 1966 and rare Home Recording of these classics If I Fell, Michelle and He Said He Said. Complete Home Recordings 1967-1968 - Excellent compilation cd by Silent Sea. This set continues the incredible "Home Recording" series. 52 tracks with many unheard gems. Worthy of any serious Beatles collection. Nice to have if you're looking for all of this material in one spot. Priceless...

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Complete Home Recordings 1968 - A combination of Esher Demos and ANTHOLOGY remixes. These recordings are available elsewhere but not as a complete package as found here. Though, the majority of these tracks are recorded at George's home in Esher John's mono tape is being used exclusively. Excellent! Complete Home Recordings 1968-1969 - The last title in a series by Silent Sea. Some isolated highlights and performances not heard elsewhere are here. New are; Case of the Blues, Don't Let Me Down, I Want You, Because, and the Give Peace a Chance demos. SS rounded this disk out with the "Message to Japan" track from Yoko. Day By Day (56CD) - "The Complete "Get Back Sessions" Vols 1-28...A Rolls . One of Yellow Dogs best sets. As recorded by Camera A. Incomparable to anything on the market! Day By Day (20CD) - "The Complete "Get Back Sessions" Vols 29-38...A Rolls This is the much anticipated continuation of the "Get Back" Sessions. Purple Dog/Chick released this Beatleg due to Yellow's legal woes but that didn't stop the quality as found in Volumes 1-28.Comment from a fan...I can't stress the historical importance of these recordings enough. Where else can you find these treasures? Capitol will never release these nor will Apple. "A" Roll, "B" Roll Down in Havana - 'I Will' & 'Hey Jude' Sessions, some previously unreleased. Also contains a complete set of 'Hey Jude" session takes. The song "Jamming" is the first appearance on a Beatleg. EP Club - Master recording for this 20 track set provided by "Base Two" of Japan. Sound quality is excellent. Contains a very bluesy-unreleased edit of "Helter Skelter" that is so cool. In addition, there are several original stereo tracks that are simply a great listen. Examples are: My Bonnie, Sweet Georgia Brown, Ain't She Sweet and Please Please Me. Also contains the backing track to "Hold Me Tight"! Nice set. Every Little Thing (8CD) - Overdone Productions 8 disk collection of rarities from around the world . Recording variations, rare mixes, and musical oddities that are simply a must hear! Comment from a fan: I have many of the Beatles outtakes and studio recordings but this collection really blew me away! I've never heard the amount of variations and other musical inclusions that are apart of this fabulous set. This is a 10 on a 10 scale! Every Little Thing (The Making Of "BEATLES FOR SALE" album & single) (2CD) - "Beatles For Sale" era sessions. Remixing the "Beatles For Sale" era rarities. The complete session tapes of all these songs in one place! The sound quality is crystal clear, you feel like you're in the studio with them. From Kinfauns To Chaos (2CD) - CD features the most complete, best sounding version to date of the May, 1968 "White Album" demos recorded at George's "Kinfauns" Bungalow on disk one. Disk 2: A rare opportunity to hear a live session. The tape is Yoko's with the Beatles heard in the background. Since you hear Yoko's voice

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throughout, you might be annoyed, but remember, if she hadn't been there with the recorder on, we wouldn't have this at ALL. What's especially neat is how the transition from Revolution 1 to Revolution 9 is documented. You can hear REPEATEDLY the track being replayed in the back, as well as some random jamming. Comment from a fan: Excellent sound quality and the mood in which they were recorded makes this a better listen than the official White Album! Probably the best boot in the world! Well, maybe one of the best. From Then To You (Purple Chick) Get Back Camera B Rolls - In January 1969, The Beatles recorded some songs. This is their story The following volumes are the legendary "B" Rolls...See Complete account..."A" Roll, "B" Roll Gone Tomorrow, Here Today - During a chat between John, Yoko and George Martin, you can hear Paul in the background working on an acoustic version of Helter Skelter. Fantastic! Recorded at the Abbey Road Studios, Studio 2 on June 11th and July 29th, 1968 and at Trident Studios, St. Anne's Court, London on August 28th and 29th, 1968. Hard Days And Nights (2CD) - Compilation of "A Hard Day's Night" era material. Includes the stereo edition of "A Hard Day's Night" LP, the mono "Long Tall Sally" EP and the German language single in stereo. Great Stuff. Good one stop source for AHDN sessions and mix variations. Help! Deluxe Edition (Purple Chick) I Hope We Passed The Audition - A great collection of all the various pre-EMI recordings in one handy package. Excellent sound quality and another high mark for Purple Chick. It's All In The Mind, Y 'Know - Includes movie songs and previously unavailable tracks. It's Not Too Bad - "Strawberry Fields Forever", from inception to end. A fine release by PegBoy A must have! Kum Back (18CD) - The rare "B" Rolls as captured by the "Nagra" Film crew at Twickenham in 1969. This phenomenal audio treasure - caught live and uncensored of the Beatles early sessions that became the inspiration for the film "Let It Be" goes beyond the "A" Rolls (Day By Day) as it fills in the gaps the primary cameras weren't able to catch for various reasons. This set is a goldmine and is a perfect companion to the Day By Day series! Magical Mystical Boy (2CD) - A wonderful collection. Highly recommended! I commend Silent Sea's presentation of the tracks on this 2 disk set. The songs flow in a way that really lets the listener HEAR the progression from take to take and mix to mix. Sound quality is excellent, documentation very good. Top quality stuff indeed. (Magical

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Mystery Tour sessions, mono mixes, film mixes, Rumi Tape and more!) Very Nice..42 tracks Let It Be Deluxe Edition (Purple Chick) Magical Mystery Year Deluxe Edition (Purple Chick) Meet The Threetle's (Purple Chick) - Nice tracks of the "Threetles" jamming. Where else can you find a disk with these songs? It's great to hear the complete "Threetle" jams, all in one place. Nice set! Comment from a fan: Whether or not you really want to hear all those Free As A Bird and Real Love tracks is irrelevant - get the disk for tracks 1-7 Miscellaneous Tracks (YD 2005) - Very nice old / new collection of previously released tracks but in much better quality. Yellow Dog has gone the extra mile and compiled an amazing sounding disk that glistens with clarity. Tracks include: Love Me Do, Carol, Soldier of Love, Lend Me Your Comb, Clarabella (BBC), I Saw Her Standing There (Live at Blokker-Holland), Hello Goodbye (Takes 1, 2), I Am The Walrus, What's The New Mary Jane, I Want You, Think For Yourself (Studio Chat).. Pepperland (2CD) - Disk 1: "Sgt Pepper" Era Sessions plus more. Disk 2: Mono Mixes, Mixing Session. Please Please Me Deluxe Edition (Purple Chick) Psychedelic Years (1966-1968)(Banzai)(3CD) Revolver Deluxe Edition (Purple Chick) Revolving (2CD) - Outstanding Revolver era outtakes. Disks 2's "I'm Only Sleeping" is a classic! 5 stars! Rubber Soul Deluxe Edition (Purple Chick) Sgt Pepper Deluxe Edition (Purple Chick) Soul Sessions (2CD) - Absolutely superb! Contains various outtakes and alternate cuts. Strawberry Lane (2CD) - An outstanding disk of outtakes of two great Beatle songs "Strawberry Fields Forever" and "Penny Lane". This set is a landmark collection of "Strawberry Fields" outtakes listed in chronological order that gives the listener insight into the evolution of this masterpiece. The song comes to life over the course of Lennon's Santa Isabella Demos, followed by his follow-up Kenwood Demos, and finally in the studio at EMI. Hear Brief commentaries by George Martin. Disk 2 - Remixes...Tracks 17: Early Mixes...Tracks 8-16: Released Remixes...Tracks 17-20: John Barrett Remixes...Tracks 21-23: Anthology Remixes. This is a great set! 65 tracks.

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Strong Before Our Birth (Purple Chick)(2CD) - Review: Another new 2007 offering from the folks at Purple Chick. This 2-disc set highlights the beginning (before EMI contract) of the Beatles in 1957-1962. The best sources were used in compiling home recordings and the Cavern Club rehearsals. Studio Sessions (Tobe Milo corrected) - Historic document, preserved in stereo! Turn it on, close your eyes and pretend you're in the control room! It just might work. Fabulous and expert precision is what the Milo disk is all about. The Beatles sound like they are in the same room as the listener. You can't go wrong here. The Abbey Road Tape Vol. 1 - This collection has some extra bits not found in any Barrett remixes. The sound is not "cleaned up" and is just how the tape source originally sounded - excellent! Track 1 from this compilation ''She Loves You '' contains two attempts to remix a mono master tape into stereo, as you will hear from the results, the second was never used. Track 2 ''This Boy'' was remixed for stereo in 1966 from take 15, here we have the complete recording of that day's remix, including a couple of seconds of the original '63 sessions pre-song chatter. This source contains some unidentified studio noise just before the track begins. The late engineer John Barrett left us his legacy and this set is no exception to his stellar reputation. This is a must have - gotta hear collection! The Alternate A Hard Day's Night - The new and improved edition of Pear's alternate "A Hard Day's Night". Here's a small sampling: The Alternatives: 14. A Hard Day's Night Take 4, 15. A Hard Day's Night 03/08/64 - BBC - "From Us To You", 16. I Should Have Known Better 16/07/64 - BBC - "Top Gear". 17. If I Fell Demo - John's home demo from January 1964..18. If I Fell 03/08/64 - BBC - "From Us To You"..19. I'm Happy Just To Dance With You Stereo mix (Take 4)..20. And I Love Her Stereo mix (Take 21 - with SIX riffs at end)..21. And I Love Her 16/07/64 - BBC - "Top Gear"..22. Can't Buy Me Love Stereo mix (Take 4)..23. You Can't Do That Stereo mix (Take 9)..24. Bloopers Medley: And I Love Her Take 6..I Should Have Known Better Takes 8 and 11..Tell Me Why..I'll Be Back Takes 12, 13, 14.. The Alternate Beatles For Sale (2004 Edition) - The new and improved edition of Pear's alternate "Beatles for Sale". Includes tracks from a variety of sources - some live. Overall, the sound quality is a major improvement. Here's some more of what's on this disk: Alternate Stereo mixes; Mr. Moonlight, I'll follow the sun, Kansas City/Hey-HeyHey-Hey!, No Reply, Rock And Roll Music, Words of Love. Another great Pear release! The Alternate Hey Jude - Another great release by Walrus Records! Contains the Masterpiece title track in several variations plus alternate takes of other classics. Examples are: Revolution Rough Mix without piano overdub; I Should Have Known Better Stereo Mix; Lady Madonna Take 3; Can't Buy Me Love Take 2; The Ballad of John And Yoko stereo mix with count-in; Old Brown Shoe Alternate Take..19 Fantastic songs! The Alternate Past Masters (Pear 2003) (2CD) - Comment from a fan: Ah, the Past Masters collection by Pear Records; I may never listen to the official release again. I've

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been an avid collector of The Beatles for years and can honestly say "I love this deluxe set". Disk #1 contains the 18 alternate lp tunes along with several alternate lp tracks. Pears decision to include the 5 live versions is an added bonus. The John Barrett Cassette Dubs (6CD) - Comment from a fan: The most complete collection of the famed John Barrett working tapes. I couldn't believe I found this set but I guess anything's possible. If you want the most in-depth outtakes from the man who was there with the fabs, then this set will take you to another place in time. Thanks so much! Over 100 glorious tracks including Outtakes, demos, stereo mixes, mono mixes and many more surprises. The Beatles Complete..Silent Sea's Extraordinary set in all its Glory! Review: In the history of recorded music and well before others entered into the realm of outtake recordings, Silent Sea reigned supreme in their commanding presence of the availability of truly remarkable rarities. Many years have come and the demand for these priceless sounds have grown. Collectors love the unheard gems that would forever be lost had it not been for the many publishers of these titles, in particular Silent Sea. The following 10 volumes are a masterpiece in themselves and trace the Beatles throughout the "Days in their Lives". Enjoy. The Beatles Complete 1 (July 6, 1957 To April-May 1960) The Beatles Complete 2 (April-May, 1960 To June 24, 1961) The Beatles Complete 3 (January 1 To September 5, 1962) The Beatles Complete 4 (September 11 To December 21, 1962) The Beatles Complete 5 (December 25, 1962 To January 22(A), 1963) The Beatles Complete 6 (February 11(A) To 11(B), 1963) The Beatles Complete 7 (February 11(C) To March 5, 1963) The Beatles Complete 8 (March 6 To May 21(A), 1963) The Beatles Complete 9 (May 21(B) To June 17, 1963) The Beatles Complete 10 (June 19 To July 10(A), 1963) The Black Album (2CD) - Excellent insight into the true talent of the Beatles. Some studio feedback and engineers cues are often heard but enlighten the listening experience. This 2 disk set is for Beatles fans that want to listen in on some of the studio magic during the Get Back era recording sessions. The Bootleg Zone Auction Tape (Re-mastered Edition) - Comment from BZ: Here is a real treat. Some people from Bootleg Zone got together to bid on an original tape of The Beatles at Shea Stadium. Unfortunately, we lost that bid but instead we were successful in bidding on this tape, presented here for the first time publicly. What we have here is a session tape of Cilla Black & Paul McCartney running through "Step Inside Love" under the direction of George Martin. The tape is unedited and unaltered. The sound is a little muffled The tape runs 24:48. As a bonus there are three more interesting tracks. First is a tape with John playing guitar and singing with Yoko's daughter Kyoko. Second, a John Lennon demo tape featuring "God", "Yoko Ono Poem Game", "When A Boy Meets A Girl" and "Well, Well, Well". Third, there is a great sounding mix of the Beatles "Ain't

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She Sweet" (recorded in 1962 during the Tony Sheridan sessions) which has a much fuller and more contemporary sound than any version out there. The Complete Songs The Beatles Gave Away (8CD) - Comment from liner notes: This compilation is probably the most complete set of "Songs Given Away". The tracks included here not only include song's not recorded commercially by the Beatles but also officially sanctioned cover's of their own material often produced by George Martin or one of the Beatles themselves. There is one exception. No tracks given away to other Beatles (i.e. from Paul to Ringo) have been included, only those given to people outside the Beatles. Unlike the British Compilation "Songs Lennon and McCartney Gave Away" and most bootleg compilations this set contains the best available versions of each track. The majority of these tracks appeared on the original compilation in mono. In this case I have attempted to use as many Stereo versions as possible (Some of which have never been released in Great Britain). Most tracks are taken from Digital sources although there are a few tracks that originate from vinyl or flexi disc, it therefore may be possible to hear some residual background noise. 200 tracks. The Lost Pepperland Reel and Other Rarities - Comments: Tracks 1-9: Mono duplicate masters made for producers of the "Yellow Submarine" film, with many alternate versions, made on 1 Nov 1967. Tracks 10-20: Bonus rarities, including "work tapes" John made for composing purposes. The River Rhine Tapes (3CD) - Comment from a fan: Amazingly, I was able to hear songs that I completely wasn't aware of when I listened to 30 Days or A/B Road on account of all the in between studio chatter and other distractions. I really liked the January sessions but the River Rhine collection cuts to the chase and gives you just the songs without all the interruptions. A fantastic and well put together set. Highly recommended! 1. The River Rhine Tapes...2. More River Rhine Tapes...3. Final River Rhine Tapes.. The Songs The Beatles Gave Away (Purple Chick) The Songs We Were Singing Vol 1 (4CD) - A phenomenal collection of timeless classics sung by the original artists that directly influenced the Fab 4's musical direction. The Songs We Were Singing Vol 2 (5CD) - The continuation of the music that started it all! Tribute to the Cavern - An original record album produced in 1984 and available only to personal callers (intimate fans) from The Cavern Club in Liverpool. Excellent compilation album transferred to disk. Lp is forever out of print. Includes songs by The Beatles and other Cavern Club luminaries. (Billy J Kramer and the Dakotas, The Fourmost, The Swinging Blue Jeans, Gerry and the Pacemakers and Cilla Black) EMI engineers clearly have given The Beatles special treatment as the 8 songs featured here have the best sound of any of their releases. This includes Ebbetts, FSL or Mirror Spock! A+ sound quality. 16 trks A1 Billy J Kramer & The Dakotas Bad To Me..A2 Fourmost

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Hello Little Girl.. A3 Gerry & The Pacemakers You'll Never Walk Alone..A4 Swinging Blue Jeans The Hippy Hippy Shake.. A5 Billy J Kramer & The Dakotas Little Children..A6 Swinging Blue Jeans You're No Good.. A7 Cilla Black It's For You..A8 Gerry & The Pacemakers Ferry Cross The Mersey B1 Beatles Love Me Do..B2 Beatles I Saw Her Standing There..B3 Beatles Twist And Shout.. B4 Beatles She Loves You..B5 Beatles Money (That's What I Want)..B6 Beatles I Want To Hold Your Hand.. B7 Beatles Can't Buy Me Love..B8 Beatles A Hard Day's Night.. Unsurpassed Demos (Esher Demos) - Demos taken from rehearsals from late 1968. A great listen. Unsurpassed Masters - A very insightful audio experience from the Fab 4's humble beginnings to their eventual rise to World Wide Fame. This is the Beatleg collection that started it all. Unsurpassed Masters Vol 1 (1962 - 63) (FIXED STEREO) Unsurpassed Masters Vol 2 (1964 - 65) (FIXED STEREO) Unsurpassed Masters Vol 3 (1966 - 67) (FIXED STEREO) Unsurpassed Masters Vol 4 (1968) Unsurpassed Masters Vol 5 (1969) Unsurpassed Masters Vol 6 (1962 - 69) Unsurpassed Masters Vol 7 (1962 - 69).....Essential! .. Video 1 - All tracks are mono/stereo promo video soundtracks in excellent sound quality) Here's a collection of outstanding tracks including some stunning Get Back outtakes in STEREO! Most of this is available elsewhere separately but in this format the sound is great and makes for an outstanding compilation. Comment from a fan: I've searched everywhere for a Beatleg "greatest hits" package and definitely found it in this set. Thanks so much! When I Get Older (Beatles in the 90's) - Great home demo's worth looking into. The version of "Real Love" selected for this compilation is an early Beatles Mix destined for the waste bin, but in many opinions is better than the released version. Includes a very rare track; "Now And Then" which is the elusive third Beatles track, which was never completed during the spring sessions of 1995. It is introduced here in it's original form, complete with "that" buzz which plagued co-producer Jeff Lynne. On listening it is revealed that John slips into "She's A Friend Of Dorothy's" during the instrumental break. Fun filled Beatle tracks worth a listen! White Album (The Original Mono Mix) (Beat 012)(2CD) - A magical rendering of the Beatles White Album by Red Robin Records /Beat in glorious mono fashion. This set has been compared to Dr. Ebbetts and Mirror Spock but after just one listen - you'll instantly hear the difference. As an added bonus, 10 outtake, demo tracks are included from Esher White Album Deluxe (Purple Chick) - Includes disks #11, #12 addendums...

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White Album Working Version (Making of The White Album) (Misterclaudel) (5CD) - The quality that only Misterclaudel could deliver is now brought to life in this excellent 5 disk extravaganza. The White Album is finally Disk 1: Demo recordings at George's Esher estate on May 1968: Julia, Blackbird, Rocky Raccoon, Back In The U.S.S.R., Honey Pie, Mother Nature's Son, Ob-La-Di, Ob-La-Da, Junk, Dear Prudence, Sexy Sadie, Cry Baby Cry, Child Of Nature, The Continuing Story Of Bungalow Bill, I'm So Tired, Yer Blues, Everybody's Got Something To Hide Except For Me And My Monkey, What's The New Mary Jane, Revolution, While My Guitar Gently Weeps, Circles, Sour Milk Sea, Not Guilty, Piggies Disk 2: John's Home Demo 1967: Cry Baby Cry, Across The Universe - Cry Baby Cry. Rishikesh Tape - March 1968: When The Saints Go Marching In - You Are My Sunshine - Jingle Bell - She'll Be Comin' Around The Mountain - Instrumental - Blowin' In The Wind - Hare Krishna Mantra - O Sole Mio - Catch The Wind. Mike Love's Birthday in India 15th May 1968: Spiritual Regeneration - Happy Birthday. Home Demo At Weybridge May 1968: Julia (Take 1), Julia, Julia (Instrumental), Back In The U.S.S.R. (Take 6, RM1), Back In The U.S.S.R. (From Acetate), Dear Prudence (Take 1), Dear Prudence (Take 1, RM1), Dear Prudence (Backing Vocal Only), Ob-La-Di, Ob-La-Da (Take 5), Ob-La-Di, Ob-La-Da (Take 23, RM21), Wild Honey Pie (Take 1, RM6), While My Guitar Gently Weeps (Take 1), While My Guitar Gently Weeps (Monitor Mix #1), While My Guitar Gently Weeps (Monitor Mix #2), While My Guitar Gently Weeps (Monitor Mix #3), While My Guitar Gently Weeps (Monitor Mix #4), Lady Madonna (Monitor Mix), While My Guitar Gently Weeps (Monitor Mix #5), Happiness Is A Warm Gun (Take 65), I'm So Tired (Take 14 #1), I'm So Tired (Take 14 #2) Disk 3: Blackbird, Blackbird Congratulations, Blackbird, Blackbird, Helter Skelter, Gone Tomorrow Here Today, Blackbird, Blackbird, Mother Nature's Son, Blackbird, Blackbird, Blackbird, Blackbird, Blackbird, Blackbird, Blackbird, Improvisation, Blackbird, Blackbird, Blackbird (From Apple Corps Promo), Rocky Raccoon (take 10), Don't Pass Me By (Take 7, RM6), I Will (Take 68 Alternate Mix), A Documentary Of The Recording Sessions At The Abbey Road Studio July 18th, 1968 Disk 4: Birthday (Take 27, RM1), Yer Blues (Takes 16&17, RM 3), Yer Blues (Takes 16&17, RM 3 from Acetate), Mother Nature's Son (Take 26,RM8), Everybody's Got Something To Hide Except For Me And My Monkey (Take 12, RM5), Everybody's Got Something To Hide Except For Me And My Monkey (Take 12, RM5 from Acetate), Fuck A Duck - Sexy Sadie (Monitor Mix), Brian Epstein Blues (Monitor Mix), Sexy Sadie (Monitor Mix), Sexy Sadie (Play Back), Sexy Sadie (Take 117, RM5), Helter Skelter (Acoustic Version from Apple Corp Promo), Helter Skelter (Take 21, RM1), Revolution 1, Revolution 1, Revolution 1, Revolution 1, Can You Take Me Back, Revolution 9 (Alternate Mono Mix from Acetate), Good Night (Take 34, RM6), White Album Outtakes Medley - Blackbird - What's The New Mary Jane? - Ob-La-Di, Ob-LaDa - Good Night - Rocky Raccoon - Sexy Sadie - While My Guitar Gently Weeps Mother Nature's Son - Piggies - I Will - Julia - Why Don't We Do It On The Road - I'm So Tired - Don't Pass Me By Disk 5: Hey Jude (Fragment), Hey Jude (Introduction Rehearsals), Hey Jude, Hey Jude, Hey Jude - Las Vegas Tune, Hey Jude (Fragment), Hey Jude, St. Louis Blues (Fragment), St. Louis Blues, Revolution (Stereo Alternate Mix 10th-13th July 1968), Not Guilty (Take 102), Not Guilty (Take 102 RM1), Not Guilty (Play Back), What's The New Mary

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Jane? (RS4), What's The New Mary Jane? (RS5), What's The New Mary Jane? (Take 4 RS4), What's The New Mary Jane? (1968 Alternate Stereo Mix), Step Inside Love (Demo Version Nov. 1967), Step Inside Love, Los Paranoias, The Way You Look Tonight, Down In Havana, Improvisation White Mono (2CD) - Incredible mono purity on 2 excellent disks. Silent Sea has done it again! WhiteOuts (3CD) - White Album outtakes and alternates of many studio tracks - plus a few 'bonus' songs from Rishikesh, India. Paul and George tell the story of the album in between the music. A tremendous undertaking by Heathifer Productions. If you consider the White album The Beatles best recorded effort - you've gotta hear these tracks! Wildcat! (2CD) - This 2 cd set contains all of the known 1960 rehearsal recordings by The Beatles. Historical value galore! Features the only known recordings of the band with Stuart Sutcliffe. With The Beatles Deluxe Edition (Purple Chick) - Fantastic 2 disk set that includes an impressive array of restored single tracks, alternate stereo mixes and newly restored tracks from the "From Me To You" sessions. Yellow Submarine (Rough Movie Mix And More) - Tracks 1-14 are taken from a working version of the 1999 re-release of the movie. They are stereo mixes, different to the original mixes but also to the ones appearing on the official Yellow Submarine soundtrack. Tracks 15-29 are alternate mono or stereo mixes from various sources.

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Live MaTerial
7 June To 10 June 1964 Hong Kong - See more from lazy Tortoise! 16 April 1964 To 23 April 1964 - See more from lazy Tortoise! 25 April 1964 To 26 April 1964 - See more from lazy Tortoise! 27 April 1964 To 30 May 1964 - See more from lazy Tortoise! 102.7 WNEW FM (New York Radio Special) - The Beatles New York Radio Special for the 10th Anniversary of The Beatles Arrival in America. Hosted By Dennis Elsas...Aired: Sunday, February 10, 1974. An exciting fun filled testament to the Beatles arrival in America. A wonderful listen in quality audio. Many performances from a variety of places including Shea, Top of The Pops, Hollywood Bowl and The Ed Sullivan Show.A Beatles Christmas (2CD) - The BBC Radio Special "A Beatles Christmas", The BBC under-promoted a show that contained ultra-rare material of interest to all Beatles fans. Addendum One (In Concert)..1957-1964 (2CD) - Very handy collection containing Woolton Fete recordings. Of interest here to most collectors is the new Olympia Paris 1964 tapes which are featured in superb quality. Recorded between the 19th, 22nd January 1964. Worth the price of the disc alone. Addendum Two (In Concert)..1965-1966 (2CD) - Another great title in the Secret Tracks 'In Concert' series. This time focusing on 1965, 1966. To my ears some sonic improvements are in evidence! Either better quality source tapes have been found or digital cleanup is in evidence. Nice. Anthropology - Indispensable! From the Cavern to the Rooftop. Over 55 tracks. April To August 1963 - See more from lazy Tortoise! Around and Around (2CD) - The 1964 Sessions, Rehearsals and Final telecast of "Around The Beatles".Beatle-mania in the early stages of eruption. Many choice selections along with all the hysteria. Disk 1: Tracks 1-8; original studio recordings for the telecast, taped April 19, 1964 at IBC Studios in London. Tracks 9-12; stereo remixes for Anthology. Tracks 13-14; Murray the K's tapes of the rehearsals held at the Hall of Remembrance in London on April 25th. Disk 2: audio tape of the complete broadcast taped at Studio 5A/B, Wembley Studios, Wembley on April 28th.

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As Nature Intended - This CD contains all available tracks of the "Rooftop Concert" and includes more coverage than from the film "Let it Be". A piece of musical history. Great quality. Baggy Sweegin' USA! - To commemorate the 40th anniversary of the Beatles' first concert in the U.S. (Washington Coliseum) on February 11, 1964-an enterprising DCarea fan created an audio documentary of the event. The centerpiece is the concert itself. What makes this set exciting are all the surrounding interviews, press reports etc. some of which is pretty obscure! Absolutely unique and a great concept! City Of Light (2CD) - This 2 Cd set contains all the available Paris material including interviews and concerts. A top notch, lovingly produced collection. The attention to detail is obvious, down to the new original graphics for the package-beautiful work! Contains the Interview for the Armed Forces Network's "Weekend World" - Jan. 24, 1964 in addition to the Paris Concert itself. What a show! Complete BBC Sessions Upgrade (2004) (Purple Chick)(11CD) - A fantastically well made set and a pleasure to listen to! Compiled using the best possible sources available to date. These disks are excellent. All the shows, all the interviews! Bonus Disk (Disk 11) contains a very nice and informative HTML interface that automatically loads into your browser. Set includes: The 2004 upgraded tracks from the "Beatles BBC Radio Sessions", Complete Artwork, Recording details with tons of info and exclusive photos, Full Track listing with noted sources, 45 mp3 files from "The Beatles' Guests" during their BBC Radio shows. (Over 1.5 hrs), 132 MP3s for the "Non-Session BBC Shows" spanning the years 1963 to 1970...Includes all the material from "Attack of the Filler Beebs 1-4" not on the main disks, plus related recordings from "Vinyl To The Core", "Pepperland", "Beatles Broadcast Collection" and more. (Over 6 hrs) This set even includes unbooted goodies of pure listening pleasure! One of the BEST! December 1963 - See more from lazy Tortoise! Denmark and The Nederlands_(June 3 1964 to June 6 1964) - See more from lazy Tortoise! Down Under Beatles for Australia (4CD) - In light of Lazy Tortoise's current releases, a new title entitled "Down Under" by Brown Zebra has surfaced. This spectacular 2 volume set captures the Fabs in Australia. Highlights with many rare interviews: June 12, 1964 Concert at Adelaide...June 17, 1964 Concert at Festival Hall... February To April 1964 - See more from lazy Tortoise! France 1965 - See more from lazy Tortoise! From London To Paris 1964 - See more from lazy Tortoise!

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From Rome to Blackpool 1965 - See more from lazy Tortoise! From Tokyo to London 1966 (2CD) - See more from lazy Tortoise! From us to you (2CD) - This is a great 2 disk set that was recorded live for the BBC between 1963-1965. All of these tracks appear elsewhere but the sound quality here is very good. This is the original "Swingin Pig" release and ahead of its time for 1986. A very nice sampler of BBC material if you don't have the "Great Dane" disks. George Martin Interview (EMI Promo) (CDIN-136) - GEORGE MARTIN; The Interview (2001 UK 30-track promotional-only CD for the "Produced by George Martin 50 Years In Recording" box set. Fantastic and revealing interview by the man, the myth and musical legend - George Martin. Very nice and informative! Germany 1966 - See more from lazy Tortoise! Interviews 1967 (4CD) - See more from lazy Tortoise! Interviews 1968 (5CD) - See more from lazy Tortoise! July 1964 - See more from lazy Tortoise! Live at The Atlantic City Convention Hall 1964 - The Beatles Live in Atlantic City, August 30, 1964. Another prime example of Mass hysteria as the fabs perform a fantastic set of songs that have become staples on classic radio stations worldwide. Features: Twist And Shout, You Can't Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can't Buy Me Love, If I Fell, I Wanna Hold Your Hand, Boys, A Hard Days Night and Long Tall Sally. Re-live Beatle-mania all over again! The Beatles At The Hollywood Bowl Deluxe Edition (Purple Chick) (2CD) The Beatles Live; The Star Club, Hamburg-Germany 1962 Deluxe Edition (Purple Chick) (2CD) Live at the Star Club; Hamburg, Germany 1962 (BATZ)(3CD) - A very inspired set from the fabs as they perform during the Christmas Holiday season in Hamburg, Germany 1962. Disk 1 taped on December 25th; Disk 2 taped on December 28th, and Disk 3 taped on December 30th. 43 dynamite tracks! March 1966 To June 1966 - See more from lazy Tortoise! North American Tour Diary 1966 (6CD) - See more from lazy Tortoise! November 1963 - See more from lazy Tortoise! October 1963 - See more from lazy Tortoise!

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O.P.D. (Officially Pronounced Dead) - The (In) famous Get Back - Let it Be...Roof Top Concert material before it was officially released to the public in 1969 as Let It Be. There have been several incarnations of O.P.D. to surface since but this title is the one that took the Beatle loving public by storm. Unheard of in 1969, many radio stations aired tapes of these tracks including WBAI in New York, and WBCN in Boston. The most famous airing of O.P.D. came from WBKW in Buffalo and WEBN in Cincinnati which broadcast an undocumented mix of GET BACK material from an obscure bootleg entitled O.P.D. Glyn Johns is credited to leaking the tapes but has denied all involvement. Come hear the raw, unedited version of a historic time in Beatledom. (All tracks from vinyl source) Reunions 74 & 92 - John, Paul, George, Ringo. 1. Studio Play-1974, 2. Blues Jam-1974, 3. Talk Part-1974, 4. Lucille-Jam 1974, 5. Nightmares-Jam 1974, 6. Stand By Me-Jam 1974, 7. Stand By Me-Jam 1974, 8. Stand By Me-Jam 1974, 9. Medley: Cupid, Jam 1974, Chain Gang, Take This Hammer..10. While My Guitar Gently Weeps-Concert London 6 Apr 1992 with George & Ringo.. 11. Roll Over Beethoven-Concert London 6 Apr 1992 with George and Ringo. Sgt Peppers 40th Anniversary BBC Radio 2 (2CD) - Sgt Pepper celebrates its 40th anniversary with a little help from his 21st century Lonely Hearts Club friends. Artists scheduled to perform are: Oasis, Kaiser Chiefs, The Killers, Razorlight, James Morrison, Travis and The Fratellis are amongst the special guests helping BBC Radio 2 celebrate the iconic Beatles album, Sgt Peppers Lonely Hearts Club Band. Geoff Emerick, the albums award-winning audio engineer who recorded the original version at Abbey Road, will be using his techniques to record the new interpretations on the analogue, one-inch four-track equipment used back in 1967. Artists are going back to the studio to record tracks from the album as part of Radio 2s Sixties Season - a series of programs to be broadcast over the summer to mark the networks 40th birthday in September and the anniversary of the Summer of Love. Lesley Douglas, Controller, Radio 2, says: This will not only be a unique radio event but a very special musical moment. The range and quality of artists involved will be a fitting tribute to one of the great albums of all time. September 1965 To March 1966 - See more from lazy Tortoise! September 1966 To February 1967- See more from lazy Tortoise! Talkology (3CD) - Review: These press conferences are presented in their fullest form. The majority have never appeared in their entirety anywhere before either on vinyl or CD releases, official or unofficial. If you love the Beatles as much as I do, you'll definitely LOVE this set. A very nice selection of rarely-heard interviews. >Talk-ology 1 - The Beatles Lost Press Conferences - 1964-1965..(Melbourne, Australia, Seattle >Talk-ology 2 - The Beatles Lost Press Conferences - 1966..(Tokyo, Chicago, NY, + LAST ever press conference!

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>Talk-ology 3 - The Beatles Lost Press Conferences - Japan 1966..The all inclusive Lost interviews! Telecasts (5CD) - The Beatle concerts in 1964, 1965, 1968, 1969 on various venues from around the world. Review: Not only did the Fabs have stamina but man they had some incredible endurance to keep up a schedule like this. I absolutely love the songs and the whole package is terrific. Thanks so much for the memories! The Ballad of John and Yoko (2CD) - See more from lazy Tortoise! The Beatles And The Great Concert At Shea! (Yellow Dog) (2007) (2CD) - The unedited in-line mono recording of the Beatles live from Shea Stadium on August 15, 1965, direct from the public address feed onto reel-to reel tape...(as the event unfolded) The actual complete concert. John once said "nothing is real" but not to worry, this is the real deal! The Beatles Book (1963-1969) - Review: This CD-Rom is a digital masterpiece! It contains all 77 editions of the legendary Beatles Fan Cub Magazine (published between 1963 and 1969). Every page, every picture, every article and ALL the Beatle fun. Don't worry about page creases, tears or flipping about - it's a must have disk. "For all Beatle fans who never had the chance to obtain these fab magazines" this is your chance. Bonus, all 7 "Christmas Club" Flexi's included. The Beatles Story (9CD) - "The Beatles Story" 1973 BBC Radio Special. The entire special is narrated by the BBC's own BRIAN MATTHEWS. This is an UNEDITED STEREO BBC RADIO special that was produced in 1973 by the BBC in London. This radio special has now been carefully transferred to STEREO CD's from an original set of "VIRGIN" 2trk MASTER reel-to-reel tapes. These 2trk reels are BRAND NEW old stock reels that were NEVER PLAYED ON THE AIR by any radio station. The sound quality is SUPERB! The Cavern Club Rehearsals - 2 part disk of the Beatles rehearsing at the Cavern Club 1962 (tracks 1-5) and the boys performing live at the Empire Pool Theatre (tracks 6-16) on December 7, 1963.These last tracks are presented as "The Beatles 1963 Christmas Show". This is the concert-form only of a Beatles Christmas Show conceived by Brian Epstein. It included elaborate costumes and sketches as well as Beatles numbers. Two concert-only previews were performed on Dec 21, 1963 and the other on Dec 22, 1963 (this disk is the second show). The show was settled in at the Astoria for a 16 night run, two "houses" each (except for 24 and 31 Dec when there was only one). There were no shows at all on December 25, 29 and on January 5. The last show was performed on Jan 11, 1964. One hundred thousand tickets for the 30 shows went on sale on October 21, by November 16, all tickets were sold. "The Cavern Club Rehearsals"1. I Saw Her Standing There...2. One After 909 (Version 1)...3. One After 909 (Version 2)..4. Catswalk (Version 1)...5. Catswalk (Version 2)...6. From Me To You...7. I Saw Her Standing There...8. All My Loving...9.

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Roll Over Beethoven...10. Boys..11. Till There Was You...12. She Loves You...13. This Boy...14. I Want To Hold Your Hand...15. Money...16. Twist And Shout.. The Day John Met Paul (BBC 2 Radio) - "The Day John Met Paul" marks the 50th anniversary of a day that was to change music for ever. Bob Harris marks the 50th anniversary of the day when 15-year-old Paul McCartney first met then 16-year-old John Lennon. The casual event took place on July 6th 1957 following an outdoor church fete gig featuring John Lennon's skiffle group The Quarrymen. Tonights nostalgia fest includes a couple of clips from a vintage Quarrymen recording and previously unaired recollections that McCartney shared with Lennon's half-sister Julia Baird. Plus interviews with Cynthia Lennon, Mike McCartney, musicologist Spencer Lee, Colin Hall - who worked as custodian of Mendips, where the young John Lennon lived with his Aunt Mimi - Quarrymen members Rod Davies, John "Duff" Lowe, Len Garry and Colin Hanton. The Lost TV Tapes - Various live TV performances and outtakes in the best sound quality available for these1960 era performances. Includes 29 tracks to include: "Sunday Night At The London Palladium", "Blackpool Night Out" "The Cilla Black Show", "The Rolling Stones Rock and Roll Circus" and more. The audio shows a degree of low fidelity here and there but overall a well constructed Beatleg. The Ultimate Live Collection Vol. 1 (2CD) - I have to say that this is one of my favorite Beatlegs. Hearing the excitement that the Beatles generate live is a unique experience. This is a must have for all the die hard collectors! Can't say enough about it. Includes; INDIANA STATE FAIR Afternoon Show, SAM HOUSTON COLISEUM AfternoonEvening show and CONVENTION HALL Philadelphia, Afternoon Show... Turn Left At Greenland (4CD) - A first account look at "what it was like" to be a Beatle and how the U.S. and the World reacted to this new and exciting movement called Beatle-mania. Disk 1: ALL about the first US visit, including complete interviews with the Fab 4, hotel stays, Murray the "K" show and much more...Disk 2: Ed Sullivan appearance and meeting the press (hysterical)...Disk 3: The train ride to Washington, DC...Interviews, Washington Coliseum concert-More...Disk 4: Carnegie Hall, Miami interviews, Plus the Ed Sullivan show rehearsal! Ups & Adds Volume 1 - Contains tracks that have been upgraded to or additions to previously released Silent Sea titles: tracks 1-11 additions to "Addendium Two: 19651966" - Metropolitan Stadium, Minneapolis August 21, 1965. A significant upgrade in sound from previously released versions on otherlabels - (audience recording). Track 12 is an upgrade to "Get Back, Glyn John's" and tracks 13-20 are upgrades and additions to The Beatles "Last Year". This is a way cool upgraded listening experience...Wow! Ups & Adds Volume 2 - Upgrades and additions to previously released Silent Sea titles: tracks 1-12 are upgrades to "In Concert - Copenhagen 64.06.04 Adelaide 64.06.12", tracks 13-22 are additions to "Addendum One: 1957-1964" in good quality. Tracks 23-26 are additions to "The Crimble Tapes - Christmas Recordings". Cool..

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Ups & Adds Volume 3 (2CD) - Contains tracks that have been upgraded to or additions to previously released Silent Sea titles: Disk 1: Pop Go The Beatles! upgrades and additional to the previous SS release - Broadcasts One. 33 mono tracks of Pop Go The Beatles BBC broadcasts #'s: 1, 2, 3, 12 and 13 in 1963. Disk 2: Pop Go The Beatles! upgrades and additional to the previous SS release - Broadcasts One. 30 mono tracks of Pop Go The Beatles BBC broadcasts #'s: 14 and 15 plus Saturday Club #'s 1, 2 and 4 in 1963. Excellent set! (63 tracks) Vinyl To The Core (3CD) - From The Star Club to "I Feel Fine", concerts, interviews, radio and TV shows, all of them here! This set is great fun to listen to. Features many tracks that aren't easily available elsewhere. Z Is For Zapple - BBC Radio 4 documentary about the rise and fall of the Beatles' experimental label "Zapple" - Narrated by Barry Miles. A very insightful look at The Beatles capitalist venture that unfortunately failed but nonetheless gave the world another side of The Fabs that we could all look at and analyze later. A 1st class job by the BBC. Historical and a worthwhile listen.

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RemasTers
EMI have come under considerable criticism for neglecting the Beatles catalogue. While some artists' works, such as The Beach Boys and The Rolling Stones, have received several remasters during the CD era, The Beatles' recordings have been issued only once in the latter 1980's (the thirteen UK studio albums were released on compact disc in 1987; two volumes of Past Masters, collecting non-LP sides, followed in 1988). Since then, remastering technology has moved on and many fans consider the sound quality of the official releases to be lacking, although this may stem from the demands of the surviving Beatles. Given this, several bootleggers have undertaken remasterings of the entire Beatles catalogue. Since they do not have access to the original studio master tapes, they have typically gone back to pristine audiophile vinyl releases played back on high-quality turntable and amplification equipment and digitised using high resolution equipment. The Millennium Remasters series has released 24-bit remasters of all the Beatles' UK albums in both Mono and Stereo (except Abbey Road and Let It Be which are solely in Stereo). Similarly, Dr. Ebbetts has undertaken an extensive remastering of both the UK and U.S. Beatles releases, often releasing several versions of each based on different sources. Other remasters have been offered by Mirror Spock, Sir Esquire and Silverking By far, the most comprehensive remasters are the Purple Chick releases. Varying from as little as 2 CDs to up to 12 CDs, it is as close as a Beatle fan can get to having not just the album, both in mono and stereo mixes, but also dozens of outtakes.

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The BeaTles
Dr. EbbeTTS
The Dr Ebbetts Beatles Remasters [These are all taken from original mint LPs and copied onto digital tape to be transferred onto CD-Rs. Dr Ebbetts presumably uses an expensive audiophile setup to make the transfers. They are distinguished by their higher quality and stereo sound. The official EMI/Capitol releases up to Revolver are all in MONO. The Unofficial Dr Ebbetts Webring lists 124 albums copied by Dr Ebbetts]

Dr Ebbetts Mobile Fidelity versions [using the UK masters] The Beatles - Please Please Me [MFSL 1CD] The Beatles - With The Beatles [MFSL 1CD] The Beatles - A Hard Days Night [MFSL 1CD] The Beatles - Beatles For Sale [MFSL 1CD] The Beatles - Help! [MFSL 1CD] The Beatles - Rubber Soul [MFSL 1CD] The Beatles - Revolver [MFSL 1CD] The Beatles - Magical Mystery Tour [MFSL 1CD] The Beatles - Sgt Pepper's Lonely Hearts Club Band [MFSL 1CD] The Beatles - Yellow Submarine [MFSL 1CD] The Beatles - White Album [MFSL 2CD] The Beatles - Abbey Road [MFSL 1CD] The Beatles - Let It Be [MFSL 1CD]

Dr Ebbetts US Capitol Beatles Albums [After Magical Mystery Tour, the US and UK

versions were the same]


The Beatles - Meet The Beatles [Capitol/Stereo 1CD] US 1st album. The Beatles - Second Album [Capitol/ Stereo 1CD] US 2nd album. The Beatles - Beatles VI [Capitol/ Stereo 1CD] US 3rd album The Beatles - Beatles '65 (Dr. Ebbetts 1CD) mono/stereo versions

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The Beatles - Something New [Capitol/ Stereo 1CD] US miscellaneous, mostly from A Hard Day's Night soundtrack The Beatles - A Hard Day's Night [United Artists/ Stereo 1CD] the original soundtrack, US. The Beatles - Rubber Soul [Capitol/ Stereo 1CD] US version. The Beatles - Hey Jude (Dr. Ebbetts 1CD) US release. Never issued on CD before.

Dr Ebbetts UK EMI Beatles Albums The Beatles - "Please Please Me" [EMI 1CD] original UK stereo mix The Beatles - "With the Beatles"[EMI 1CD] original UK stereo mix The Beatles - "A Hard Day's Night"[EMI 1CD] original UK stereo mix The Beatles - "Help" [EMI 1CD] original UK mono mix The Beatles - "Help"[EMI 1CD] original UK stereo mix The Beatles - "Rubber Soul"[EMI 1CD] original UK stereo mix The Beatles - "Revolver"[EMI 1CD] original UK stereo mix The Beatles - Sgt Pepper's Lonely Hearts Club Band [EMI 1CD] original mono UK mix. The Beatles - "Sgt. Pepper's Lonely Hearts Club Band"[EMI 1CD] original stereo UK mix The Beatles - The White Album [EMI 2CD] original UK mono The Beatles - The White Album [EMI 2CD] original stereo mix The Beatles - "Yellow Submarine"[EMI 1CD] original UK mono mix The Beatles - "Yellow Submarine" [EMI 1CD] original stereo mix The Beatles - "Abbey Road" [EMI 1CD] original UK stereo mix The Beatles - "Let It Be"[EMI 1CD] original UK stereo mix

Dr Ebbetts US Capitol Beatles Albums The Beatles - Help [Capitol/mono 1CD] The Beatles - Help [Capitol/stereo 1CD] The Beatles - Revolver [Capitol/mono 1CD] The Beatles - Revolver [Capitol/stereo 1CD] The Beatles - Sgt Pepper's Lonely Hearts Club Band [Capitol/mono 1CD] The Beatles - Sgt Pepper's Lonely Hearts Club Band [Capitol/stereo 1CD]

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Dr Ebbetts Unique Rest of the World Beatles albums The Beatles - Beatles Beat (Dr. Ebbetts 1CD) originally released in Japan. Never issued on CD before. EX SBD stereo The Beatles - Beatles Greatest (Dr. Ebbetts 1CD) originally released in Holland. Never issued on CD before. Ex SBD stereo The Beatles - Magical Mystery Tour [Apple/ German Stereo 1CD] the German version The Beatles - Beatlemania [Capitol ST6051 1CD Demonoid 1125807] originally released in Canada as their version of UK With The Beatles. Never issued on CD before. Wide Stereo Canadian mix. DR EBBETTS REMASTER

Dr Ebbetts Post-Beatles' Breakup Releases The Beatles "Beatles At The Hollywood Bowl" (Dr. Ebbetts 1CD) Live in 1964-'65 in Los Angeles. Never issued on CD before. Ex SBD stereo The Beatles - "1962-66"*-[Capitol 1CD] Original U.S. mix. Ex SBD stereo. The Beatles - "1967-70"* [Capitol 2CD] Original U.S. mix. Ex SBD stereo. The Beatles - Rock & Roll Music (Dr. Ebbetts 1CD) never issued on CD before. Ex SBD stereo The Beatles - "Rarities"* [Dr Ebbetts 1CD] Capitol version. Never issued on CD before. Ex SBD stereo The Beatles - "Rarities"* [Dr Ebbetts 1CD] UK version Never issued on CD before. Ex SBD stereo The Beatles - Love Songs (Dr. Ebbetts 1CD) never issued on CD before. Ex SBD stereo The Beatles - Reel Music (Dr. Ebbetts 1CD) never issued on CD before. Ex SBD stereo The Beatles - 20 Greatest Hits (Dr. Ebbetts 1CD) never issued on CD before. Ex SBD stereo The Beatles - "Beatles Ballads"* [Dr Ebbetts 1CD] original UK mix. Never issued on CD before. Ex SBD stereo The Beatles - 'Past Masters Vol.1' (DESS 1CD) Dr Ebbetts The Beatles - 'Past Masters' Vol.2 (DESS 1CD) Dr Ebbetts The Beatles - "Christmas Album"* [Dr Ebbetts 1CD] Sourced from Beatles' fan club Eps. Never issued on CD before. Ex SBD stereo

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Bootlegs by Dr Ebbetts The Beatles - "New Years Day"* [Dr Ebbetts 1CD] Decca Audition on New Year's Day 1962. Ex SBD stereo. The Beatles - "Live at the Hollywood Bowl"* [Dr Ebbetts 1CD] 1st Capitol versionrejected. Ex SBD stereo The Beatles - Casualties [Dr Ebbets 1CD] the abandoned 1980 compilation using the infamous "butcher" cover. These are versions of Beatles singles released around the world but not in USA. Ex SBD stereo. The Beatles - "Get Back"* [Dr Ebbetts 1CD] (Original) from Vigotone source? The Beatles - "Get Back"* [Dr Ebbetts 1CD] (2nd Version) The Beatles - "Sessions"* [Dr Ebbetts 1CD] Ex SBD stereo. Source unknown. Originally planned for release but rejected. The Beatles - "Sessions"* [Dr Ebbetts 1CD] Montage cover with 2 extra songs. Originally planned for release but rejected. The Vigotone bootleg? The Beatles - Last Licks Live (Dr Ebbetts PMC 6901 1CD) The infamous rooftop concert in January 30, 1969. Ex SBD mono. The Beatles - Warts N All [Martha Records 1CD] live TV/radio broadcasts 1963 to 1969 includes some studio outtakes, interviews. VG to Ex. A mixed bag. The Beatles - UK EP Collection Vol 1 [1CD] taken from the EMI boxset The Beatles - UK EP Collection Vol 2 [1CD] taken from the EMI boxset The Beatles - US Singles Collection Vol 1 [1CD] taken from Capitol set The Beatles - US Singles Collection Vol 2 [1CD] taken from Capitol set The Beatles - US Singles Collection Vol 3 [1CD] taken from Capitol set

Dr Ebbetts US-VeeJay Albums The Beatles - Beatles & Frank Ifield on Stage [VeeJay 1CD] The Beatles - Beatles vs. The 4 Seasons" [VeeJay 1CD] The Beatles - "Beatles Story, The"* [US VeeJay/mono 1CD] The Beatles - "Beatles Story, The" [US VeeJay/stereo 1CD] Dr Ebbetts US Capitol Beatles Albums [After Magical Mystery Tour, the US and UK

versions were the same]


The Beatles - "Early Beatles" [Capitol/mono 1CD] The Beatles - "Early Beatles" [Capitol/stereo 1CD]

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The Beatles - "Magical Mystery Tour" [Capitol/mono 1CD] The Beatles - "Magical Mystery Tour" [Capitol/stereo 1CD] The Beatles - "'Yesterday' and Today" [Capitol/mono 1CD] The Beatles - "'Yesterday' and Today" [Capitol 1CD] simulated stereo The Beatles - "'Yesterday' and Today" [Capitol 1CD] true stereo

Dr Ebbetts UK EMI Beatles Albums The Beatles - "Beatles for Sale" [EMI 1CD]original UK stereo mix The Beatles - "A Collection of Beatles Oldies" [EMI 1CD]original UK mono mix. The Beatles - "A Collection of Beatles Oldies" [EMI 1CD]original UK stereo mix. Dr Ebbetts Unique Rest of the World Beatles albums The Beatles - And Now: The Beatles [EMI] originally released in Germany. Never issued on CD before. Mono German mix The Beatles - Abbey Road (Brazilian Mono 1CD) Dr Ebbetts The Beatles - Let It Be (Brazilian Mono 1CD) Dr Ebbetts

The Beatles - Dr. Ebbett's Blue Box Remasters [Dr Ebbetts 8CDs beatleg 6] Here are the latest remasters taken from the December 1978 UK blue boxset of vinyl records. Includes Please Please Me, With The Beatles, Hard Day's Night, Beatles For Sale, Help, Rubber Soul, Revolver and Sgt Peppers. This will be Dr Ebbett's version of the UK stereo albums from now on. Ex SBD stereo. The Beatles - Let It Be The Beatles - The White Album [EMI Blue Box PCS 7067+7068 2CD] Dr Ebbetts The Beatles - Yellow Submarine [EMI Blue Box PCS 7070] Dr Ebbetts The Beatles - Abbey Road [EMI Blue Box PCS 7088] Dr Ebbetts The Beatles - Rarities [EMI Blue Box PCM 1001] mono/stereo. Dr Ebbetts More Dr. Ebbett's The Beatles - "Meet the Beatles" [Capitol mono 1CD] US 1st album The Beatles - "Second Album" [Capitol mono 1CD] US 2nd album The Beatles - "Something New" [Capitol mono 1CD] US misc. The Beatles - "A Hard Day's Night"* [United Artist mono 1CD] soundtrack mix The Beatles - "A Hard Day's Night"* [United Artist stereo 1CD] soundtrack mix The Beatles - "Beatles VI" [Capitol mono 1CD] US 3rd album The Beatles - "Rubber Soul" [Capitol mono 1CD] The Beatles - "Rubber Soul" [Capitol stereo 1 1CD] The Beatles - "Rubber Soul" [Capitol stereo 2 1CD] with reverb

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U.K. mono
The new set of Dr. Ebbett needle drop transfers cover the UK editions of The Beatles LPs in the mono format. This is the same project they did several years ago releasing all these albums on cdr, but this current DBM series is pressed on silver disc. Three titles are double disc sets: The Beatles, since it was a double LP, A Collection Of Beatles Oldies which has both the mono and stereo transfers, and Revolver with transfers of both the first pressing that was quickly withdrawn from circulation, and the standard mono issue. Dr. Ebbett claim to use the Thoren-145 turntable utilizing pristine copies of the original vinyl with no noise reduction to produce the definitive version of these albums on silver disc. Each title will be considered in turn and in general the sound quality is impressive, although there are some issues to discuss.

Please Please Me (DBM-014) I Saw Her Standing There, Misery, Anna (Go To Him), Chains, Boys, Ask Me Why, Please Please Me, Love Me Do, P.S. I Love You, Baby Its You, Do You Want To Know A Secret, A Taste Of Honey, Theres A Place, Twist And Shout The mono edition of The Beatles first album was originally issued by EMI in 1987, a decision based on the opinion that the mono sounds much better and is closer to the spirit of the sessions than stereo. Millennium Remasters issued the mono twice with the he first in 2002 (PMC 1202/MFSL 1-101) with both stereo and mono. The latter is sourced from the UK mono box set of LPs issued in the early 1980s. According to one collector, this transfer is inferior because that label used an inferior quality vinyl source, the mono runs at the wrong speed, and there is heavy-handed equalization. The second Millennium

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Remasters version, the Red Collection, came out two years later (EAS 70130/EAS 80550) sourced from Japanese copies of the vinyl. Dr. Ebbetts first issue of the UK mono was on CDR in 2003 (PMC 1202). This new version is a flawless new transfer from a pristine vinyl copy with no hint of vinyl noise and a very warm, natural and clear sound. It is well known this album was recorded in one session and although it produced several hits and the classic cover of Twist & Shout, is does have its forgettable points as well. Dr. Ebbett press this on silver discs and utilize the MFSL style cover for the front as they have bee doing with all of their Beatles release so far this year. Questions about the best vinyl transfer of this album are always debatable, but this is a superior release that is worth having. (GS)

With The Beatles (DBM-015) It Wont Be Long, All Ive Got To Do, All My Loving, Dont Bother Me, Little Child, Till There Was You, Please Mister Postman, Roll Over Beethoven, Hold Me Tight, You Really Got A Hold On Me, I Wanna Be Your Man, Devil In Her Heart, Not A Second Time, Money The Beatles second official LP release With The Beatles was first released on November 22, 1963 (stereo) and on November 25, 1963 (mono) with the first compact disc release in mono on February 26th, 1987. Previous needle drops include two from Millennium Remasters. The first MR was issued in 2002 (PMC 1206 / MFSL 1-102) with both mono and stereo with the former coming from the early 1980s UK box set. The second (PMC 1206/PCS 3045) came out two years later again with both mono and stereo transfers on the same disc. The mono is the identical one used on the 2002 release but the stereo came from the blue box set instead of the MFSL box set. Dr. Ebbett released five previous versions of With The Beatles, all but one in stereo. The previous mono issue came in 2003 (PMC 1206) on CDR and with an exact duplication of the original vinyl artwork. This received high praise, and this new release is receives the same high praise. They used a pristine vinyl copy and there are no flaws in the mastering

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and transfer making this flawless. The sound is very natural and smooth and quite honestly is the best way to experience this album since mono was the preferred format for the first couple of Beatles albums. It is also good to have this edition because the final track Money lacks the guitar in the beginning of the stereo version, has a different piano introduction and there are various differences in the instrumentation. (GS)

A Hard Day's Night (DBM-016) A Hard Days Night, I Should Have Known Better, If I Fell, Im Happy Just To Dance With You, And I Love Her, Tell Me Why, Cant Buy Me Love, Any Time At All, Ill Cry Instead, Things We Said Today, When I Get Home, You Cant Do That, Ill Be Back A Hard Days Night is The Beatles third LP and was first released on July 10, 1964 to correspond with the release of the film. The first compact disc release was on February 26, 1987 in mono only. Many collectors complained about the mono transfer by EMI for the first four albums, but particular complaint has been centered on this album. Part of the reason why the official release was so bad was because the record company at first wanted to issue it in stereo, but they were not satisfactory to George Martin and he simply transferred the stereo mixes into mono, losing a lot of the bass and drum sounds leading to a need for needle drops of the original mono LP. Millennium Remasters issued the mono at least twice. The U.K. collection (PMC 1230/MFSL 1-103) came out in 2002 with both the mono and stereo versions. Collectors noted there seems to be faint traces of vinyl surface noise on the mono transfer. Two years later they issued both the mono and stereo LPs again (EAS 70123/EAS 80552). The mono was again taken from the 1982 mono LP box set while the stereo didnt come from the MFSL edition but rather the 1978 blue box. Dr. Ebbett first issued the mono A Hard Days Night (PMC 1230) in 2003. This new version is on silver pressed disc instead of cdr and is, as one reviewer noted, excellent 75

mono centered and clear. As with the other UK mono albums offered by the Doc I prefer this one over the official Apple release. The DBM version is pristine and clear with no mastering faults whatsoever. It is also interesting comparing the differences between the stereo and mono mixes of the songs which reveal several differences. The mono A Hard Days Night is several seconds shorter than the stereo. In I Should Have Known Better, there is no gap in the harmonica introduction and the mono has three repeats of the closing line instead of four. Lennons opening vocal is not double tracked in the beginning of If I Fell and Tell Me Why as it is in stereo. The artwork is again inspired by the MFSL covers for some odd reason, but in general this is an nice sounding transfer of the UK mono LP. (GS)

Beatles For Sale (DBM-017) No Reply, Im A Loser, Babys In Black, Rock And Roll Music, Ill Follow The Sun, Mr. Moonlight, Kansas City / Hey Hey Hey, Eight Days A Week, Words Of Love, Honey Dont, Every Little Thing, I Dont Want To Spoil The Party, What Youre Doing, Everybodys Trying To Be My Baby Beatles For Sale, their fourth official LP, was initially released on mono on December 4, 1964 on vinyl and on February 26, 1987 on compact disc. Like the first three albums, the initial cd release was from the stereo mix transferred into mono. Other needle drops include at least three versions of the mono transfer of the LP. The U.K. Collection (PMC 1240/MFSL 1-104) of 2002, with both the mono and stereo, uses the mono edition from the 1982 box set LP. Some have noted that this, compared to the Dr. Ebbett edition, has slight surface noise and is slightly flatter. Two years later the same label issued two versions with both stereo and mono: the Japan Red Collection (EAS 70133/EAS80553) and the U.K. Collection (BM-1/BC-13). Dr. Ebbett released the mono in 2003 on cdr. A more recent appearance of the mono is in the Purple Chick three cdr set Beatles For Sale Deluxe Vol. 1 (disc 2), which collates it with the stereo version and various outtakes and non-album singles from those sessions.

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Dr. Ebbetts DBM Beatles For Sale is the same as their 2003 release but on silver pressed cd and with artwork inspired by the old MFSL vinyl. The transfer is flawless as many of the others with no digital flaws or surface noise. Words Of Love is nine seconds longer in mono than it is in stereo. This release by Dr. Ebbett is excellent and definitely worth having. (GS)

Help! (DBM-018) Help!, The Night Before, Youve Got To Hide Your Love Away, I Need You, Another Girl, Youre Going To Lose That Girl, Ticket To Ride, Act Naturally, Its Only Love, You Like Me Too Much, Tell Me What You See, Ive Just Seen A Face, Yesterday, Dizzy Miss Lizzie The EMI CD release of Help! from April 1987 is in stereo, and there have been several needle drops of the mono edition since. These include Original Monaural Recording (PMCD 1255) in 1989, a release on (fake) Odeon (MO 984008) from Germany in the late nineties which has the mono LP, outtakes and incidental music from the film all on one compact disc and a version on B4 Records (CT-004) containing the mono album plus outtakes. Several years ago Millennium Remasters issued the mono on three unique releases. The Millennium Red Collection (EAS 70134/EAS 80554) with the stereo also from a Japanese pressing. The Millennium Original Monaural Recordings (PMC 1255) of the mono LP only, which that label said: The sound work is not our own, but comes from an exclusive set of mono cd's that came out of Japan (originals were housed in mock reel-to-reel boxes). The original sound sources are supposedly from safety copy tapes made by TOSHIBA EMI in the early 80's when they first put out the ORIGINAL MONO RECORDINGS on red vinyl. The third is the Millennium Remasters (PMC 1255/PCS 3071) with both the mono and stereo albums. The mono is transferred from the 1982 vinyl black box set. Purple Chick released Help! Deluxe Edition Vol. 1 & Vol. 2 that has the stereo and mono mixes, and a disc devoted to outtake material on cdr released in 2007. Dr. Ebbett released the UK

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mono LP before on Help! (PMC 1255) in 2000 on cdr which received high praise. The current DBM is a new transfer pressed on silver disc. The mono version this LP is worth having since the vocal track on the title song is different than the one found on the stereo mix. Lennon sounds much more aggressive and makes one wonder if this is why there is another performance used on the stereo release of the album. The new Dr. Ebbett is very good with a tiny hint of distortion in the upper frequencies. Also, there are digital clicks during the final track Dizzy Miss Lizzy which sounds like a faulty cd glass master. It is unfortunate this is less than perfect since it could have been a solid release by a respected label. (GS)

Rubber Soul (DBM-019) Drive My Car, Norwegian Wood (This Bird Has Flown), You Wont See Me, Nowhere Man, Think For Yourself, The Word, Michelle, What Goes On, Girl, Im Looking Through You, In My Life, Wait, If I Needed Someone, Run For Your Life The first compact disc edition of Rubber Soul was released by EMI in 1987 using the stereo version of the LP. The first CD mono edition came out two years later on Rubber Soul (Original Monaural Recording PMCD 1267). More recently, Rubber Soul (Odeon MO 84 006) was released in Germany using the UK mono edition and the disc was supplemented by outtakes from the same sessions. The Millennium Remasters label issued the mono on four separate releases. The first is on the Millennium U.K. Collection (PMC 1267/MFSL 1-106) in 2002 with both mono and stereo. Mirror Spock issued this in 2003 on Rubber Soul (EAS 70135) that many claim is the best needle drop of the album. In 2004 they issued Millennium Remasters (U.K. Collection BM-1/BC-13) (PMC 1267/PCS 3075) with a transfer of the mono from the 1982 UK black box set. In the same year they issued the mono album alone on Millennium Remasters Original Monaural Recording series (PMC 1267) and again on Millennium Red Collection (EAS 78

70135/EAS 80555) from a Japanese pressing. Dr. Ebbett first issued a transfer of the mono album in 2000 on Rubber Soul (PMC 1267). Many collectors preferred this to the other needle drops although there are some static ticks present in the music. The latest Dr. Ebbett release in the DBM series is a new transfer from a pristine vinyl copy of the mono edition and the sound quality is very good, natural sounding and warm. There are several mastering faults present on this release. There is a tick forty-eight seconds in You Wont See Me, and two in Nowhere Man at ten seconds and the second one two minutes and twenty-six seconds into the track. The mono edition of this album is good to have and the only difference in the mix between this and the stereo is in What Goes On, where the mono version is missing some of the lead guitar at the end. The full lead guitar is present in the stereo edition. Although the sound quality is good, the mastering faults ought to be corrected by the label since they are an obvious blemish on what is otherwise a very solid effort. (GS)

Revolver (DBM-020A/B) Disc 1 (XEX 606-1): Taxman, Eleanor Rigby, Im Only Sleeping, Love You To, Here There And Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want To Tell You, Got To Get You Into My Life, Tomorrow Never Knows Disc 2 (XEX 606-2): Taxman, Eleanor Rigby, Im Only Sleeping, Love You To, Here There And Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want To Tell You, Got To Get You Into My Life, Tomorrow Never Knows The needle drop history of the mono Revolver follows a similar trajectory as some of the earlier releases. EMI used the stereo for the compact disc release in 1987, and a transfer of the mono followed two years later called simply Revolver Original Monaural Recording (PMCD 7009). Of the more recent releases, Millennium Remasters issued the mono three times. The Red Collection (EAS 70136/EAS 80556) was issued in 2004 with

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both stereo and mono from Japanese vinyl sources, and the Millennium Remasters UK Collection (PMC 7009/PCS 7009) has both mono and stereo with the former being sourced from the 1982 box set. Millennium Remasters Collection (PMC 7009) was also released in 2004 and contains only the UK mono. Other copies of the mono can be found on Revolver (UK Mono - Japanese 'Red Wax') (EAS-70136) by Mirror Spock on CDR in 2003 which many collectors claim is the best version. In 2007 Purple Chick gave Revolver the deluxe treatment and include the mono along with the stereo transfer and various outtakes. Dr. Ebbett released the mono on two separate occasions. In 2000 they issued Revolver (UK Mono LP - Parlophone - Matrix XEX 606-1) (PMC 7009) that includes the alternate mix of Tomorrow Never Knows. Several years later they issued it again with the statement: From Doc E: "If you own an Ebbetts Revolver UK mono, you have the original mono matrix XEX 606-1 version. I am now offering (believe it or not, by popular demand) the standard UK mono version of the LP with the more common mono mix of Tomorrow Never Knows (RM8). I am using the same exact master for the other 13 tracks. Only the last one is new. From this point on, ALL CDs will be printed with either the code (XEX606-1) if it contains the original mono matrix mix or (XEX606-2) if it is the new regular mono mix. This new release by Dr. Ebbett contains new transfers of both the first pressing, with the alternate RM11 mix of Tomorrow Never Knows and the standard, RM8 mix. Having the full pressings is overkill since they sound identical except for the final song. Because there are several differences in the mixes between the stereo and mono versions, it is good to have. The mono version of "Taxman" has a cowbell that starts during the second verse, whereas on the stereo release it does not start until halfway through the second chorus. The backwards guitar in Im Only Sleeping is in a different place in the mono than in the stereo. In Yellow Submarine the mono has an opening guitar chord that is missing on stereo and Lennons echo of Ringos lines begin one line sooner. McCartneys vocals sound different in the fade out of Got To Get You Into My Life in the mono, and "Tomorrow Never Knows" has different backwards tape effects than those on the stereo version. Even though the mono is worth having, this isnt one of Dr. Ebbetts best productions and care should be taken if one is thinking about picking this one up. The transfer is very bass heavy, and there is a digital click at 2:02 in Im Only Sleeping on the first disc. The Millennium Remasters UK mono is much clearer and more enjoyable and would be a better option than this version. (GS)

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A Collection Of Beatles Oldies (DBM-013A/B) Disc 1, UK mono: She Loves You, From Me To You, We Can Work It Out, Help!, Michelle, Yesterday, I Feel Fine, Yellow Submarine, Cant Buy Me Love, Bad Boy, Day Tripper, A Hard Days Night, Ticket To Ride, Paperback Writer, Eleanor Rigby, I Want To Hold Your Hand Disc 2, UK stereo: She Loves You, From Me To You, We Can Work It Out, Help!, Michelle, Yesterday, I Feel Fine, Yellow Submarine, Cant Buy Me Love, Bad Boy, Day Tripper, A Hard Days Night, Ticket To Ride, Paperback Writer, Eleanor Rigby, I Want To Hold Your Hand A Collection of Beatles OldiesBut Goodies was their first greatest hits collection, released in the U.K. only on December 9, 1966. Previous transfers include a mono edition by Odeon (PMC 7016), Millennium Remasters (PMC 7016/PCS 7016) both mono and stereo on one disc, released in 2004 and Dr. Ebbett released both the mono and stereo on separate discs in 2001. Dr. Ebbetts new release is a new transfer of both the mono and stereo LPs in a two-disc set. It is pressed on silver disc instead of CDR as the older issues were. There are some minor mastering issues on this including digital bumps at 1:26 in the mono Day Tripper and at 1:33 in the stereo We Can Work It Out. The sound quality of the transfer is excellent as are most works from this label. It is also good to have this greatest hits collection because it has the UK issue of their first single. There are also some interesting differences between the mono and stereo mixes. From Me To You includes harmonica in the introduction while it is absent in the stereo. The mono and stereo versions of Help! have the same instrumental track but different vocals. The mono version of Yellow Submarine has an opening guitar strum while it is absent on the stereo track. And finally, the stereo version of A Hard Days Night is a few seconds longer than the mono. This is packaged in a double slimline jewel case and the artwork, just like the blue box set, is modeled after the MFSL cover. (GS)

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Sgt. Peppers Lonely Hearts Club Band (DBM-021) Sgt Peppers Lonely Hearts Club Band, With A Little Help From My Friends, Lucy In The Sky With Diamonds, Getting Better, Fixing A Hole, Shes Leaving Home, Being For The Benefit Of Mr. Kite, Within You Without You, When Im Sixty-Four, Lovely Rita, Good Morning Good Morning, Sgt. Peppers Lonely Hearts Club Band (Reprise), A Day In The Life Since Sgt. Peppers Lonely Hearts Club Band was officially released on compact disc by EMI in 1987 in stereo only, there has been a need for a good transfer from the mono. But many collectors claim the album sounds much better in that format. Significant needle drops of the mono include several from Millennium Remasters. In 2002 they issued Sgt. Pepper's Lonely Hearts Club Band (Millennium U.K. Collection) (PMC 7027/MFQR 1100) sourced from the 1982 UK black box set. Two years later they issued Sgt. Pepper's Lonely Hearts Club Band (Millennium Red Collection) (EAS-70137 /EAS 80558) from the Japanese red mono LP from 1982 and also Sgt. Pepper's Lonely Hearts Club Band (U.K. Collection BM-1/BC-13) PMC 7027/PCS 7027, vinyl transfers of clean sources from the rare mono BM1 "black" boxset of 10 mono albums released in 1982 limited to 1000 sets (this set alone now costs $1000). Also that year they released Sgt. Pepper's Lonely Hearts Club Band (Original Monaural Recording) PMC 7027 alone, copied from a Japanese CD issued in the early eighties. Mirror Spock issued Sgt. Pepper's Lonely Hearts Club Band (UHQR Stereo And 'Red Wax' Mono) Mirror Spock MFQR1-100/EAS70137, and Purple Chick include the mono in the Sgt. Pepper Deluxe Vol. 1 disc 2 (Purple Chick PC-123) along with the stereo and various outtakes. The latest Dr. Ebbett silver pressed edition is an excellent transfer with no flaws whatsoever. There are some differences in the mix between stereo and mono. The mono of Sgt. Peppers Lonely Hearts Club Band has prominent guitar in the end, 82

Lucy In The Sky With Diamonds has more echo in the vocals, Shes Leaving Home is faster than the stereo and Sgt. Peppers Lonely Hearts Club Band (Reprise) has the audience noises beginning more loud, for extra beats in the drum introduction, and John says some things which are not noticeable on the stereo. This pressing also includes the high whistle and nonsense at the very end in the runoff groove. (GS)

The Beatles (DBM-022A/B) Disc 1: Back In The U.S.S.R., Dear Prudence, Glass Onion, Ob-La-Di Ob-La-Da, Wild Honey Pie, The Continuing Story Of Bungalow Bill, While My Guitar Gently Weeps, Happiness Is A Warm Gun, Martha My Dear, Im So Tired, Blackbird, Piggies, Rocky Raccoon, Dont Pass Me By, Why Dont We Do It In The Road, I Will, Julia Disc 2: Birthday, Yer Blues, Mother Natures Son, Everybodys Got Something To Hide Except For Me And My Monkey, Sexy Sadie, Helter Skelter, Long Long Long, Revolution 1, Honey Pie, Savoy Truffle, Cry Baby Cry, Revolution 9, Good Night

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Yellow Submarine (DBM-023) Yellow Submarine, Only A Northern Song, All Together Now, Hey Bulldog, Its All Too Much, All You Need Is Love, Pepperland, Sea Of Time, Sea Of Holes, Sea Of Monsters, March Of The Meanies, Pepperland Laid Waste, Yellow Submarine In Pepperland

U.K. "Blue Box" stereo


Dr. Ebbett is a label that has been specializing in releasing needle drops, compact disc transfers of out of print high fidelity vinyl titles. They are most noted for their series of Beatles releases. Among several labels specializing in vinyl transfers, including Mirror Spock and the Millennial Series on Silver Apple, collectors have singled out Dr. Ebbett for special praise for the sound quality of their releases. Thus far the label has released series covering the UK and US mono and stereo LPs. Another series focuses upon using the vinyl releases from the seventies and eighties produced by the audiophile label Mobile Fidelity Sound Labs. Although the sound quality of the speciality label has always been subject to particular praise, other collectors suggest that the best versions of the Beatles' studio output can be found on the UK "blue box." The "blue box," referes to a box set released in the UK on December 2nd, 1978 called The Beatles Collection (BC-13). This contains the UK stereo issues of: Please Please Me, With The Beatles, A Hard Day's Night, Beatles For Sale, Help!, Rubber Soul, Revolver, Sgt. Pepper's Lonely Hearts Club Band, The Beatles (a.k.a. "The White Album"), Yellow Submarine, Abbey Road, Let It Be, Rarities. These issues represent, in the opinion of many, to be the definitive and authoritative Beatles studio collection in existence. Magical Mystery Tour isn't included in this collection since it wasn't officially 84

released in the UK until 1976, and Rarities is a special LP with various singles that weren't included on previous albums. Dr. Ebbett writes: By far, THE most requested project for the Dr. Ebbetts Sound System is the remastering of the famed BLUE BOX set released in December, 1978. To many, this set offers among the best representation of the original UK stereo releases. To that end, Ebbetts has decided to begin 'stagger releasing' the original UK stereo LPs from the BLUE BOX set. The LPs from which these new masters are sourced are unplayed until now. Now, let me explain this BLUE BOX project and how it fits into the Ebbetts catalogue. The Ebbetts catalogue has always offered both the MOBILE FIDELITY and ORIGINAL UK STEREO versions of the British titles. Indeed, up until now, the audio used in each of these sets were identical. The only thing that differentiated, for example, the MFSL version of Please Please Me from the standard UK issue of the same title in the Ebbetts catalogue was the artwork. Otherwise, the two were identical. That will now change. Starting today, the MFSL audio masters will stay exactly as they have been, sourced from the actual MFSL vinyl releases. However, the standard UK stereo issues, complete with the original artwork, will slowly be phased in to have the BLUE BOX transfers used as their source material. To many, the MFSL CDs are the best sounding releases around but to others, they are too bright with a bit too much EQ on either end of the spectrum, as applied by the geniuses who master these things. To many, the BLUE BOX releases are smoother and more natural sounding and better represent the Beatles recorded work. Thats up to you, of course, but over the next few months, the BLUE BOX will stand to represent the original stereo UK titles."

The transfer was done from a virgin copy of the box set played on a Thorens TD145 turntable with no noise reduction during the processing to compact disc. These releases capture the dynamics and warmth of the original vinyl release with no hints of equalization, remastering, or hiss making these arguably the greatest available versions of the Beatles catalogue in existence. Dr. Ebbett's "blue box" series was initially released in 2005. Released last month is the new "DBM" series of Dr. Ebbett transfers which differ from the other set on two points. All previous titles released on this label have been on silver cd-r, but this series is on legitimate silver pressed compact disc making it attractive to those who collect solely in that format. The artwork also differs with the older releases 85

replicating the original vinyl covers while the new ones which use a MFSL style cover. What follows are comments about the twelve new titles that have been released with comments about each one.

Please Please Me (DBM-006) I Saw Her Standing There, Misery, Anna (Go To Him), Chains, Boys, Ask Me Why, Please Please Me, Love Me Do, P.S. I Love You, Baby Its You, Do You Want To Know A Secret, A Taste Of Honey, Theres A Place, Twist And Shout Stereo releases of the Beatles first album have always been tricky since a bulk of the album was recorded in one legendary sixteen hour session on a two track. The mono format was issued six week before it came out in stereo and the result was quite unbalanced with the vocals dominating the right channel and the bass dominating the left. When EMI / Parlophone planned its first CD release in 1987, the mono version was used at the advice of George Martin, who felt the mono captured the spirit of the sessions best. (In fact they issued the first four albums in mono). One of the earliest stereo transfers was a 1996 German release (SHZE 117). The transfer on this release is very good except, as some collectors point out, the left channel of the count-in for I Saw Her Standing There is muted. It is also the only version of Please Please Me to be sourced from an unprocessed two-track master tape making it superior to the official EMI CD release. Other needle drops of the stereo include Fabulous Sound Lab (fs-2001) released in 2000, which has clear sound but some background noise. Mirror Spock issued Please Please Me (PCS 3042) in 2001, and two years later a transfer from the MFSL box set came out (MFSL 1-101). Dr. Ebbetts previous transfers include the UK mono (PMC 1202) released in 2003. the same year they came out with DESS stereo remix (PCS 3042rm). This is an outfake stereo remix with the vocals and bass centered (except for Love Me

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Do and P.S. I Love You from the single). In 2000 Dr. Ebbett issued transfers of both the Mobile Fidelity Stereo Lab version of the UK stereo (MFSL-1-101), and of the regular UK stereo release (PCS 3042). In 2006 they released on cd-r their version of the UK blue box remaster edition which has been singled out for particular praise except for some minor speed problems. The DBM series is pressed on silver and the sound quality is very enjoyable. (GS)

With The Beatles (DBM-011) It Wont Be Long, All Ive Got To Do, All My Loving, Dont Bother Me, Little Child, Till There Was You, Please Mister Postman, Roll Over Beethoven, Hold Me Tight, You Really Got A Hold On Me, I Wanna Be Your Man, Devil In Her Heart, Not A Second Time, Money The first compact disc release of The Beatles second full length album was on February 26th, 1987 by EMI/Parolphone (CDP 7 46436 2). With The Beatles, along with the first four albums, were issued in mono on recommendation of George Martin, who felt mono better captured the spirit of the original sessions. In 1996 a copy of the stereo With The Beatles (SMO 83568) was produced in Germany which claimed, This is a VERY LIMITED COLLECTOR'S EDITION (500 copies) of the original STEREO Version of the WITH THE BEATLES album; reprinted here with its original GERMAN COVER. These STEREO-mixes were NOT ISSUED ON CD BEFORE as EMI chose to release the CD-versions of the first four BEATLES-albums only in mono. This release was criticized for having audible distortion on the first four tracks especially on It Wont Be Long and All My Loving. Fabulous Sound Lab (fs-1002) released the stereo in 2000 which was praised for its clarity. Mirror Spock (PCS 3045) issued a copy from the MFSL edition in 2001 and two anonymous copies of the MFSL were released in 2000 and in 2003.

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Millennium Remasters issued two versions of the stereo album. Millenium Remasters (PMC 1206-MFSL 1-102) came out in 2002 and contains copies of botu the mono and the stereo, and Millenium Red Collection (EAS 70131/EAS 80551) is a copy of the Japanese stereo edition from the late seventies. Dr. Ebbett issued the stereo With The Beatles three previous times. First is the UK stereo (MFSL-1-102) in 2000 from the MFSL vinyl edition. Second is the original Parlophone (PCS 3045) in 2003 and the U.K. blue box (PCS 3045) in 2006. The current DBM series is a copy of the 2006 version of the blue box stereo edition and like the others is a flawless transfer. The stereo seperation on this album is very wide with the vocals on one side and the bass on the other which is a bit annoying under the headphones, but it does capture the warmth of the analogue nicely and is a pleasent listen. The artwork is inspired by the MFSL covers with the vinyl artwork reduced in size to fit in the middle of the cover. (GS)

A Hard Day's Night (Dr. Ebbett DBM-001) A Hard Days Night, I Should Have Known Better, If I Fell, Im Happy Just To Dance With You, And I Love Her, Tell Me Why, Cant Buy Me Love, Any Time At All, Ill Cry Instead, Things We Said Today, When I Get Home, You Cant Do That, Ill Be Back The new silver release of A Hard Days Night (DMB-001) is the fourth release by Dr. Ebbett of the UK stereo LP. The other releases are the UK mono LP (Parlophone (PSC 7016)), UK stereo LP (MFSL-1-103) which used noise reduction in the mastering process, UK stereo LP (Parlophone (PSC 3058)), UK stereo blue box remaster (PCS 3058). In addition there are four versions of the US mono and stereo United Artists soundtrack from the film. Other needle drop versions include editions by the Russian produced A Hard Days Night on CD Maximum (CDM 0500 425) with both UK and US soundtrack in stereo released in 2000, a version by Mirror Spock in 2001, two by Millenium Remasters in 2002, and a version by Sister Morphine in 2004. The UK version is closest to the Beatles original vision of this album and is different from the US edition since the latter is a true soundtrack to the movie. The notable differences between the mono and stereo versions of the album are A Hard Days Night 88

is a few seconds longer than the mono version, the stereo version of I Should Have Known Better has a brief gap in the harmonica introduction and has four repeats instead of three in the closing line, Lennons opening vocal is double-tracked on the stereo version of If I Fell, and Tell Me Why. The sound quality on the DBM series is spectacular. A characteristic of this release, and is common with all the titles in this series, is how difficult it is to determine its vinyl source. It is so clean it sounds like it comes from the original master tapes. (GS)

Beatles For Sale (DBM-003) No Reply, Im A Loser, Babys In Black, Rock And Roll Music, Ill Follow The Sun, Mr. Moonlight, Kansas City / Hey Hey Hey, Eight Days A Week, Words Of Love, Honey Dont, Every Little Thing, I Dont Want To Spoil The Party, What Youre Doing, Everybodys Trying To Be My Baby EMI/Parlophone first released Beatles For Sale (CDP 7 46438 2) in 1987 using the mono version of the LP. An interesting release of the stereo version surfaced ten years after that on Beatles For Sale (Odeon SMO 83790), which copied the German stereo version with outtakes from that period. Fabulous Sound Lab released Beatles For Sale (fs-1004) digitally processed using HDCD mastering in 2000 and collectors comment this release sounds very warm and natural sounding but with the vocals flat in the mix. Mirror Spock (PCS 3062) released a version of the UK stereo edition in 2001. The following year saw the release of Beatles For Sale (Millennium U.K. Collection) (PMC 1240/MFSL 1-104) on Millennium Remasters, disc four of a seventeen-disc set limited to one hundred copies. This contains both the mono from the early eighties box set and the stereo version from the 1982 MFSL box set. Again the sound quality is very good although it does have a tad more surface noise and flatter EQ than the corresponding Dr. Ebbett release. In 2003 the fake MFSL release of Beatles For Sale (DLH-1-104) surfaced with a transfer remastered for higher output level. In 2004 the Millennium Remasters label issued two versions.

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The Millennium Red Collection (EAS 70133/EAS 80553) contains versions of the Japanese mono and stereo editions, and the U.K. Collection (PMC 1240/PCS 3062) contain excellent vinyl transfers of the mono black box set from 1982 and the stereo blue box set from 1978. The Dr. Ebbett label released Beatles For Sale four previous times. The first is the MFSL copy of the UK stereo version (MFSL-1-104) in 2000. Slight noise reduction was used, but this was singled out for particular praise. Two years later they released both the UK mono version (PMC 1240) and the UK stereo (PCS 3062). Regarding the latter, come collectors complained about audible static ticks and a crispy stereo. In 2006 Dr. Ebbett came out with the UK stereo blue box edition (PCS 3062) which, as one person states, has the best sound ever offered on a Beatles CD. The DBM series of the blue box is different from the PCS in being pressed on silver discs and with the artwork being in MFSL style. The assessment claiming this is the best sounding Beatles CD is exaggerated, but there is some truth. The clarity and gain are such that this sounds as if it were recorded yesterday and not over forty years ago. Compared to the other worthy versions on the market, this has a tremendous presence and makes one wonder why EMI dont release their Beatles CD sounding as good as this one. (GS)

Help! (DBM-004) Help!, The Night Before, Youve Got To Hide Your Love Away, I Need You, Another Girl, Youre Going To Lose That Girl, Ticket To Ride, Act Naturally, Its Only Love, You Like Me Too Much, Tell Me What You See, Ive Just Seen A Face, Yesterday, Dizzy Miss Lizzie The original Help! released by EMI / Parlophone (CDP 7 46439 2) is in stereo and is very poor sounding. The excessive reverb on Dizzy Miss Lizzie has been singled out for particular scorn. The first needle drop for Help! is the version released by Original Monaural Recording (PMCD 1255) in 1989. In 2000 Fabulous Sound Lab (fs-1005) released an HDCD stereo edition which some collectors claim has pronounced surface noise. More recently B4Records (CT-004) contains mono album plus outtakes and a

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transfer of Mobile Fidelity Sound Lab edition (MFSL 1-105) was released in 2000 in stereo but the bass is mixed strange. Another MFSL copy was released in 2003 that garnered some praise. The Millennium Remasters label issued three separate versions of the album. The first was in 2002 which contains both the UK mono (from the early eighties box set) and the stereo version from the 1982 MFSL box set. Some collectors claim these transfers are very good, but not as dynamic as the corresponding Dr. Ebbett issue. In 2004 Millennium Remasters released an edition with both the mono and stereo Japanese edits (EAS 70134/EAS 80554) and another version with the UK stereo and mono versions. DBM is the seventh Dr. Ebbett release of this material. The first is the UK stereo (MFSL 1-105) released in 2000 that used slight noise reduction and is sharper and louder than the EMI release. In the same year the label released the UK mono (PMC 1255) edition. On this otherwise excellent release some collectors detect a slight lack of treble on the opening songs. The following year the label issued the US mono (MAS 2386) in 2001 and re-released an upgrade in 2005. The same year as the upgrade came an issue documenting the UK stereo (PCS 3071) and the following year came the cd-r issue of the UK blue box (PCS 3071). The DBM is a silver pressed version of the latest cd-r release and the sound quality is flawless. It is a very clean transfer from vinyl and the stereo seperation is astonishing to listen to. The UK release has songs from the film on side one of the vinyl (Help! to Ticket To Ride) and other songs recorded at the same time on side two (Act Naturally through Dizzy Miss Lizzie), whereas the US was a pure soundtrack with the instrumental tracks filling out the balance of the release. (GS)

Rubber Soul (DBM-008) Drive My Car, Norwegian Wood (This Bird Has Flown), You Wont See Me, Nowhere Man, Think For Yourself, The Word, Michelle, What Goes On, Girl, Im Looking

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Through You, In My Life, Wait, If I Needed Someone, Run For Your Life When EMI officially released Rubber Soul (CDP 7 46440 2) on April 30th, 1987, they used the stereo transfer instead of mono as they did with the Beatles first four LPs. Collectors were quick to point out that it was actually a remix rather than a straight transfer of the original stereo. Although it had better sound and some of the mistakes in the mix were corrected (for example, the noise in Run For Your Life present in the original is absent), a desire for fidelity to the original album as it was released lead to the production of many needle drop reproductions. Perhaps the earliest needledrop Rubber Soul was released only two years after EMI when Rubber Soul Special (MIDO Enterprize ZS 9103) was issued in Japan. This contains a transfer of the original vinyl along with bonus tracks. Of the more contemporary releases, both Fabulous Sound Lab (fs-1006) and Rubber Soul (MFSL 1-106) were issued in 2000. The Fabulous Sound transfer was processed using HDCD, but there is audible surface noise and pops present. Rubber Soul (DLH) MFSL (DLH-1-106) was released in 2003 and is a straight transfer of the Mobile Fidelity Sound Lab version. Millennium Remasters issued the stereo twice. Rubber Soul (Millennium U.K. Collection) (PMC 1267/MFSL 1-106) was released in 2002 and features the stereo from the MFSL 1982 box set and the UK mono LP box set. Rubber Soul (U.K. Collection BM-1/BC-13) (PMC 1267/PCS 3075) was issued in 2004 and like the earlier release offered both mono and stereo transefers with the mono sourced from the black box set and the stereo from the UK blue box. A label calling themselves Millennium Reel released Help!/Rubber Soul (L 2386/L 2442) in 2004 using stereo mixes of both albums. The stereo on Rubber Soul is remixed. For example, the shaker in The Word, while in the right channel on the original album is in the left channel. In 2006 Mirror Spock issued a cd-r of the UK stereo (BC13). This version suffers from some crackles in the right channel in the first track, but is otherwise very good. Dr. Ebbett released eleven versions covering both the UK and US stereo and mono versions of the album. In 2000 they released two versions of the UK stereo edition, one from the Mobile Fidelity Stereo Lab (MFSL-1-106) and from the normal edition (PCS 3075). In 2005 Dr. Ebbett released Rubber Soul (DESS Stereo Remix - Parlophone) (PCS 3075rm). This is the third remix project by the label (following Please Please Me and Meet The Beatles) where Dr. Ebbett remasters the stereo so that the vocals and bass are more centered. These three proved to be very popular, but the more orthodox complained about fiddling with the mix. Last year Dr. Ebbett released their version of the blue box remaster (PCS 3075) on cd-r. The current DBM version is a straight copy onto silver disc of that release. It sounds excellent and is a great way to own a pristine needledrop transfer of the original UK stereo edition of Rubber Soul. (GS)

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Revolver (DBM-007) Taxman, Eleanor Rigby, Im Only Sleeping, Love You To, Here There And Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want To Tell You, Got To Get You Into My Life, Tomorrow Never Knows EMI / Parlophone first issued Revolver on CD on April 30th, 1987 using the stereo format. It sounded as if they used a tape several generations from the master with a sound that is dull and lifeless and resulted in a sad release for such a classic album. The opportunity was big for fantastic transfers from the original vinyl releases many labels have produced titles from all of the permutations of the vinyl. The people behind the fake Mobile Fidelity Sound Labs produced two titles. The first in 2000 (MFSL 1-107) is from the original MFSL release, and in 2003 the released (DLH-1-107) from the MFSL 1982 box set. The Millennium Remasters label issued the stereo version of the LP five times, each coupled with the mono. The first two, Millennium U.K. Collection (PMC 7009/MFSL 1-107) and Millennium U.S. Collection (T-2576/ST-2576), were both issued in 2002. Two years later they issued three separate transfers of Revolver: Millennium Red Collection (EAS 40136/EAS 80556), U.K. Collection (BM-1/BC-13), and Yesterday And Today/Revolver (L 2553/2576) where it was coupled with the stereo edition of the American LP YesterdayAnd Today. Dr. Ebbett have issued Revolver in four separate versions, four of which cover the UK stereo version of the album. In 2000 they released two versions, the MFSL transfer (MFSL-1-107) and the original Parlophone release (PCS 7009). The following year they issued a transfer of the US stereo edition (ST 2576) and in 2005 the released their version of the UK blue box remaster (PCS 7009). The current DBM series is a silver manufactured edition of the latter release utilizing a virgin copy of the vinyl. Like all the

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other volumes in this series, there is no hint of its vinyl origin. There is a miniscule layer of hiss on the top end which is apparent during the most quiet passages. When this album was released record companies were still not convinced stereo was the preferred format and while the stereo separation is better than Please Please Me, the vocals and piano still dominate the right channel and the bass and drums the left. Overall though the sound is very natural and warm sounding and this is a tremendous job by Dr. Ebbett and is worth having. (GS)

Sgt. Pepper's Lonely Hearts Club Band (DBM-009) Sgt Peppers Lonely Hearts Club Band, With A Little Help From My Friends, Lucy In The Sky With Diamonds, Getting Better, Fixing A Hole, Shes Leaving Home, Being For The Benefit Of Mr. Kite, Within You Without You, When Im Sixty-Four, Lovely Rita, Good Morning Good Morning, Sgt. Peppers Lonely Hearts Club Band (Reprise), A Day In The Life The first compact disc release of Sgt. Peppers Lonely Hearts Club Band (CDP 7 46442 2) was released twenty years to the day of the vinyl, on June 1st, 1987. Published in stereo, this album is among the least frequent needle drop transfer. Millennium Remasters (PMC 7027/MFQR 1-100) released a version in 2002 as part of a seventeen disc set covering all of the albums, limited to one hundred copies. This contains both the mono version, sourced from the early eighties UK mono LP set, and the stereo sourced from the Mobile Fidelity Ultra High Quality Record. The following year a transfer of the MFSL (DLH-1-100) was issued promising a superior signal-to-noise ratio over previous MFSL transfers. The same year saw a version by Mirror Spock, who produced a DTS 5.1 surround sound mix and, despite the panning, received many positive comments. Millennium Remasters released two versions of Sgt. Peppers Lonely Hearts Club Band in 2004. The Millennium Red Collection (EAS-70137 /EAS 80558) contains both the mono and stereo formats. The mono comes from the Japanese red was mono LP (EAS 70137) which was originally released on January 21, 1982. The stereo comes from the

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black vinyl stereo reissue (EAS-80558) released originally on June 20, 1976. The second Millennium Remasters is the U.K. Collection BM-1/BC-13 (PMC 7027/PCS 7027), which contains a transfer from the rare mono BM1 "black" box set of 10 mono albums released in 1982 limited to 1000 sets and the popular "blue" box set of 13 albums BC 13 released in 1978. Also in 2004 Mirror Spock issued Sgt. Pepper's Lonely Hearts Club Band (UHQR Stereo and 'Red Wax' Mono) (MFQR1-100/EAS70137), utilizing MFSL's MFQR 1-100 half-speed mastered high quality stereo release plus EMI/Odeon Japan EAS-70137 "Red Wax" mono release on one disc. This was cleaner than the official release although some claim there is too much noise reduction used and high-end distortion is present, for example during the piano solo in Lovely Rita. Dr. Ebbett have released Sgt. Peppers seven times covering the US and UK mono and stereo editions. Three previous releases document the UK stereo version. The first two were in 2000 when they issued copies of both the original EMI / Parlophone release (PCS 7027) and the Mobile Fidelity Stereo Lab edition (MFSL-1-100). In 2006 the label issued their blue box remaster transfer (PCS 7027) on cdr. As one collector says, it is super sound, well mixed and crystal clear. There is no hint of distortion and no hint of vinyl noise present, and is very detailed down to the run-off after A Day In The Life. The DBM series is the same but pressed on silver disc and issued with MFSL inspired artwork. Again, this is a flawless transfer of what is of course a classic album and is worth having. (GS)

The Beatles (DBM-010A/B) Disc 1: Back In The U.S.S.R., Dear Prudence, Glass Onion, Ob-La-Di Ob-La-Da, Wild Honey Pie, The Continuing Story Of Bungalow Bill, While My Guitar Gently Weeps, Happiness Is A Warm Gun, Martha My Dear, Im So Tired, Blackbird, Piggies, Rocky Raccoon, Dont Pass Me By, Why Dont We Do It In The Road, I Will, Julia Disc 2: Birthday, Yer Blues, Mother Natures Son, Everybodys Got Something To Hide Except For Me And My Monkey, Sexy Sadie, Helter Skelter, Long Long Long, Revolution 1, Honey Pie, Savoy Truffle, Cry Baby Cry, Revolution 9, Good Night

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After the official release of the stereo edition of The Beatles by EMI / Parlophone in August 1987, there have been several needle drop transfers of the mono and stereo editions. Among the first was on Beat (Beat CD 012-2). The Millennium Remasters people have issued copies of the stereo release three times. The first is the 2002 edition from the U.K. Collection (MFSL-2-027) which many collectors singled out for particular praise claiming it to be vastly superior to the official version. Two years later they released two separate versions The Millennium Red Collection (EAS-11007) is a copy of the Japanese black vinyl stereo LP which was originally issued on June 5, 1976. The U.K. Collection U.K. Collection BM-1/BC-13 (PMC 7067, PMC7068) which contains both the rare mono BM1 black box version issued in 1982 and the stereo blue box edition. Another needle drop of note is the version by Mirror Spock (1C 172-04 173 / 1C 172-04 174). This version is taken from the German metal master edition which, although praised for having excellent sound quality, is also equalized a bit too much. There are two fake MFSL releases: MFSL 2-072 in 2000 and DLH-2-072 in 2003, both with excellent sound quality. Dr Ebbett issued several versions of this LP including an edition of the original UK stereo release on Apple (PCS 7067) which some collectors praised for its superb transfer and warm, cozy sound. At the same time Dr Ebbett issued a stereo version of the Mobil Fidelity Stereo Lab edition. Collectors comment that this version has a fatter bass, warmer vocal quality, and a nice analogue feeling. In 2006 the label issued a version of the blue box (PCS 7067) printed on silver cdrs. The current DBM release is the same but pressed on silver discs. The transfer as with most of these is flawless and a true representation of what the blue box sounds like. There is no hint of the vinyl source for this release and is as perfect as the other releases. Some collectors claim the Mirror Spock is more detailed, but Dr. Ebbett is preferable since it sounds less equalized and much more natural sounding. Unless the actual master tapes are used this stands as the preferred version of the stereo UK edition of the White Album. (GS)

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Yellow Submarine (DBM-012) Yellow Submarine, Only A Northern Song, All Together Now, Hey Bulldog, Its All Too Much, All You Need Is Love, Pepperland, Sea Of Time, Sea Of Holes, Sea Of Monsters, March Of The Meanies, Pepperland Laid Waste, Yellow Submarine In Pepperland Yellow Submarine saw its first compact disc release on August 24th, 1987 published in stereo with a catalogue number of CDP 7 46445 2. Both the fake MFSL (MFSL 1-108) and Mirror Spock (MFSL 1-108) are transfers of from the MFSL vinyl edition. Millennium Remasters issued three editions of the stereo, both UK and US versions. In 2002 they issued a needle drop from the MFSL box set from the early eighties (MFSL 1108). This release has bee criticized for having a noticeable ground loop hum throughout the whole album, as if the turntable wasnt stable during the transfer. Two years later they issued both the Millennium Red Collection (EAS 80559) from the Japanese vinyl and Millennium UK Collection BM-1-BC-13 (PCS 7070). The latter runs a bit too slow but is much brighter than previous transfers. It has the widest stereo separation and has very slight warppage problems at times. Dr. Ebbett issued two versions of Yellow Submarine in 2000, the UK stereo (PCS 7070) and UK stereo MFSL (MFSL-1-108), the latter of which has a very narrow stereo separation. In 2003 the label issued a copy from the US stereo (SW 153). This copy runs too fast with slight compression during the George Martin tracks. There is less high end but more mid-range and noticeable distortion during Its All Too Much and All You Need Is Love. In 2006 Dr. Ebbett issued their first transfer from the UK blue box (PCS 7070) on cdr and the current DBM edition is the same but on silver pressed disc. It is a very clean transfer although some collectors complain that it lacks some punch and presence on All Together Now. Opinions being what they are, this is a very good needle drop from the UK blue box and does sound really nice and is worth having. (GS)

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Abbey Road (DBM-002) Come Together, Something, Maxwells Silver Hammer, Oh! Darling, Octopuss Garden, I Want You (Shes So Heavy), Here Comes The Sun, Because, You Never Give Me Your Money, Sun King, Mean Mr. Mustard, Polythene Pam, She Came In Through The Bathroom Window, Golden Slumbers, Carry The Weight, The End, Her Majesty Abbey Road is the very first Beatles album to be released on CD on Toshiba Black Triangle (EMI/Odeon CP35-3016) on May 21, 1983 and was withdrawn from the market due to legal problems. Much better than the later 1987 release, many collectors point to this version as being the definitive since it comes from the master EMI tapes. The 1987 release on EMI/Parlophone (CDP 7 46446 2) has been singled out as the one most in need of a remaster. The official release used inferior, high generation tapes with high levels of hiss. Since then there have been several needle drops released in the past couple of years that have stood out. In 2000 a fake MFSL release came out with Abbey Road (MFSL 1-023) copied from the original MFSL vinyl. This release has been criticized for pushing the low end too much at the expense of the mid-range frequencies. In 2002 Abbey Road (Millennium U.K. Collection) Millennium Remasters (MFSL 1-023) surfaced. This is the sixteenth of a seventeen disc set limited to one hundred copies and is sourced from the early eighties MFSL box set. Although very good sounding, collectors point out a ground loop hum noticeable in Sun King and You Give Me Your Money. Abbey Road (Japanese Toshiba/EMI Pro-Use Series) (EALF-97001) on Mirror Spock was released in 2003 and has been singled out as being among the very best. It has also been criticized for using noise reduction, containing some hiss, and for

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distortion at 4:28 in I Want You (Shes So Heavy). Another recent release is Abbey Road (Millennium Red Collection) (EALF 97001) Millennium Remasters issued in 2004. This also has noticeable hiss, but is more dynamic than Mirror Spock. Dr. Ebbett has released Abbey Road four times previous to this one. The first was in 2000 with the UK stereo (Apple PCS 7088), the Mobile Fidelity Studio Lab edition (MFSL-1-023) the same year, the US stereo edition (Apple SO-383) in 2005, and the blue box remaster edition (PSC 7088) last year. All of these are on professionally produced cdrs with appropriate artwork. The Dr. Ebbett DBM series has the same excellent sound and is one of the best transfers available for this album. It captures the warmth and dynamics of the recording without sacrificing any of the gain. There is a bit of distortion at 4:27 in I Want You (Shes So Heavy) and about 2:20 in You Never Give Me Your Money. There is also a slight amount of hiss which is present on the vinyl as well and, unless the label used noise reduction, cant really be helped. Despite the limitations, this is still an excellent sounding release. (GS)

Let It Be (DBM-005) Two Of Us, Dig A Pony, Across The Universe, I Me Mine, Dig It, Let It Be, Maggie Mae, I Got A Feeling, One After 909, The Long And Winding Road, For You Blue, Get Back The final Beatles album Let It Be was first released on compact disc in 1987 by EMI / Parlophone CDP 7 46447 2 along with the rest of the other albums in the catalogue. The number of needle drops of this album is fewer than the others because there is no difference between the UK and US versions. Although the "blue box" is said to have all of the albums in stereo, this version of Let It Be is in crisp mono. Among the many vinyl transfers of this album are two copies from the 1982 Mobile Fidelity Sound Lab version,

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one in 2000 (MFSL 1-109) and three years later in 2003 (DLH-1-109), the same year as McCartneys version Let It BeNaked was released. Millennium Remasters did better and have released this album three separate times. The first was in 2002 (MFSL 1-109) sourced from the MFSL 1982 box set. The label used an audiophile quality, unplayed and declicked LP. Two years label the released two more editions. The first is from the U.K. Collection BM-1/BC-13 (PCS 7096), a clean transfer from the rare mono BM1 black box set released in 1982 and also from the 1978 UK blue box. The other Let It Be on this label is sourced from the Japan Red Collection (EAS 80561). Dr. Ebbett have issued this album four times before this one. The first two were in 2000 with the original UK release (PCS 7096). The only difference between these two is the cover artwork: one replicates the original cover and the other has the original Get Back photo. Also in 2000 Dr. Ebbett issued a transfer from the 1982 Mobile Fidelity Sound Lab box set (MFSL-1-109) with minimal sound reduction used in the remaster. The fourth version came out last year, a transfer from the blue box (PCS 7096). All of the previous versions by this label were on cd-r, but the DBM version is a silver pressed disc with artwork inspired by the MFSL. Along with the other transfer in this series, it is a flawless piece of work with no hints of its vinyl source. Unlike the other albums in this Dr. Ebbettseries this is in mono and not stereo. It is strange since it says UK stereo on the back label and the album was only released in the mono format in Brazil. All of the vinyl releases and the other CD transfers use the stereo making this version unique. There are small hints of distortion in the cymbals, most obvious in One After 909. There are many collectors who were not impressed with Let It BeNaked and who prefer Spectors version, and this is a very good needle drop edition of the vinyl and is worth having. (GS)

The BeaTles CapiTol Records releases on CD from Dr.EbbeTTs Sound SysTem, 2002
This time, we'll look at a series that many believe puts the official EMI/Apple CDs to shame, given to us by the man known only as... Dr. Ebbetts. The doctors' bootleg CDs are basically (for better or worse) what you heard on the original US and UK LPs. They are not 'remasters' (such as the circulating 24-bit remasters) nor remixes (good for our friend Legs). They seem straight transfers of either excellent early vinyl editions of these albums, or possibly (as I've heard) the cassettes or 8-tracks, which I'm not sure I believe.There are also British LP versions from Ebbetts straight from those wonderful Mobile Fidelity Sound Lab releases back in the early 80's. Now, in theory, since vinyl (analog)albums almost always sound better than (digital) CDs, then these discs should be superb, right? Well...sometimes. The problem is, especially with the Capitol versions, what you got on record wasn't great quality to begin with. That said, lets go through a few of the good doctors releases. "Meet the Beatles!" was, of course like the others, a mish- mash of stereo, mono and fake, or 'duo-phonic stereo' mixes. That said, this disc sounds suprisingly good. Let the stereo "This Boy" rip thru the speakers, and you'll be pleased. The whole disc is pretty 100

good (the stereo and the mono), but "The Beatles Second Album" (stereo and mono) is a superb job from Ebbetts. And this is because it sounds like the vinyl!! Thats a good thing, in most cases.You've heard me rave before about this LP; I grew up with it, and this CD is a pleasant surprise. Both versions have their strengths and good points, and to finally hear a clean CD version of "Roll Over Beethoven",echoey Capitol Dexter mix and all,does me good. It's also worth pointing out, this album featured the BEST version ever of "She Loves You". Say what you will about the echo; here, it goes a LONG way to obscuring those pesky edits made so obvious on badly mastered CDs of late. It sounds HUGE, just like this song deserves to. At this point I might also add: I don't feel theres any re-EQing going on here, which is interesting, since most of these affairs do just that, and generally WITHOUT any EQ-ing or de-clicking, the songs usually fade out too soon, to prevent you heraing those pops that, face it, are part and parcel of vinyl. This doesnt happen here, and I'm amazed. Now... "A Hard Days' Night" is different. The United Artists LP is fondly rememebered by some, but when was the last time you actually heard it? The Ebbetts CD brought back memories, sure. Of how silly the instrumentals are, and what crappy mixes EMI gave UA for the soundtrack. Remember, even with a stereo album, you still had Beatles in mono. So while its a nice novelty, this one is a good example of being too slavish to the original: it sounds as bad as the original. Good or bad? Thats up to you. I've just given cursory listens to recent aquisitions of "Beatles '65","The Beatles Story" and "Beatles VI", but are all pure Capitol vinyl....on CD. Another point of note is the packaging of the Ebbetts discs. You'll get the original front and back covers, professionally printed. You also get true silver CDs with thermal ink printing of all the details. Very nice attention paid, which is what one would expect from a good physician I'd say....! A great example of this attention is the two seperate Ebbetts versions of the "Yesterday and Today" LP. One features not only the butcher cover, but a CD that features the contents of the first pressing of that album...just as the butcher cover would have enclosed. Now here's a guy who cares. By the way, it SOUNDS good as well! Moving WAY ahead to the Doctors "Sgt. Pepper" in stereo: No sir, I don't like it. It sounds as though he got a much later (late 70s-80s) pressing of the album, and I'm not impressed. I'm also not impressed with his "White Album" mono. Its been sucked of the bass like the Capitol stereo LP was, and that was something good about the U.K. monoural: you could HEAR the BASS!! I don't know WHAT he's done here. That said, the mono EP version of "Magical Mystery Tour" is quite good, as is his version of the U.S. Capitol LP, although NOTHING, to this point, beats the version of the stereo "MMT" EP with the Parlophone EP Collection CD box set. And thats the ONLY time EMI/Apple scores points over Dr. Ebbetts. SUMMARY/OVERALL RATING: **** FOUR STARS- Tired of the commercial CDs? Then you can go here and enjoy,especially if you have to have the early Capitol LPs. Only one thing can surely put an end to these types of releases though, and any need for them: The re-released 'new and improved' Apple CDs in 2006, and Capitol actually releasing the American 'first four'. Will it happen? Look into your magic eight-ball and see...and then think about "Let It Be...Naked". What do YOU think?

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Remixes
5.1 Degrees Of Separation (2CD) - Dolby Digital 5.1 surround tracks extracted from the Yellow Submarine DVD. This set is great! If you are a "student" of The Beatles' recordings, these mixes provide invaluable insight into the construction of these tracks. You'll never hear "When I'm 64" the same again. Comment from a fan: Unbelievable- the way the SCREAMING guitar solos work in Sgt. Pepper's Lonely Heart's Club Band Leaps out at you when the rest of the music is filtered out! This alone was worth the cost of the cd!!! A must have for all musicians/fans everywhere! Anthology DVD Song-track (The 2002 Re-Mixes)(3CD) - Spectacularly Re-mixed and Re-mastered from the original 4 track masters at Abbey Road Studios in 2002. If listening is believing, then you can't go wrong with this 80 track monster. All the best tracks, along with Special Bonus songs on 3 disks. BRG Abbey Road Remixed - Another remix professionally done. Some surprises are in store for fans that like remixes; for example: "Ain't She Sweet", "The Ballad of John and Yoko" and "Old Brown Shoe" are included. These songs have never appeared on any version of Abbey Road. Incredible listen. BRG White Album Remixed (3CD) - The re-mixers have been busy again! The White Album has always been a classic recording but BRG has put a new element of surprise into these memorable songs. Comment from a fan: Amazing and so full of life. The tracks just jump out at you. I've been listening to the mono version lately and compared to this stereo release it's like night and day. Wonderful job! Five Point Wonderful (8CD) - Welcome to "Five Point Wonderful", an eight disk collection of the isolated 5.1 channels extracted from The Beatle's "Anthology" DVD. Eighty-two tracks have been culled from the DVD set. The center channel (mono), the front left & front right channels (stereo), the surround left & surround right channels (stereo) and the low frequency track (mono) of these tracks are presented here in four pairs of CDs. This great "Wall of Sound" focuses on the unique aspects of the newly remixed music. Some songs start suddenly four (or more) bars in, or fade quite quickly at the end. Some of these tracks are small snippets of songs, lasting less than a minute but include even the smallest bits if they provided a new listening experience, no matter how brief. Kaleidoscope (2CD) - Dolby Digital 5.1 surround tracks extracted from the Yellow Submarine DVD. Each track features the DVD - Left Front, Center, Right Front, Left Rear and Right Rear channel extractions. Songs: Yellow Submarine, Eleanor Rigby, All Together Now, When I'm Sixty-Four, Only A Northern Song, Nowhere Man, Lucy In

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The Sky With Diamonds, Sgt. Pepper's Lonely Hearts Club Band, All You Need Is Love, Hey Bulldog, It's All Too Much and 5 bonus snippets of "A Day In The Life".. WOW! LoveOlogy (10CD) - TOUP's long awaited Mono/Stereo extractions delving into 3 classic Beatle albums; Abbey Rd, Sgt. Pepper & The White Album "All you need is" Love..ology - More Info Soon Magical Mystery Mixes...Magical Mystery Mixes..A Fab-ulous time Awaits! Step Inside..Unique and 1st class mixes that allow the listener to hear instruments and parts of the songs that were buried deep in the original mix to finally be heard in a new and fascinating way! Wonderful! Men & Horses, Hoops & Garters - Maybe not every ones cup of tea and not really a "true" bootleg, however I find this to be a very enjoyable listen. Basically someone has put together composite mixes of Beatle songs using alternate versions and demos along with the released version. Most of the mixes work well. The sound shines throughout. It's great to turn up loud in the car, especially the power pop version of "She Loves You". Recommended as a piece of fun curiosity. Mixology (4CD) - "Stick a fork in it-there done to perfection".. Way cool songs done just right. Once in a while, a set comes along in Beatledom that rises to the top of the listening public...This is a prime example of such a set. Oopsology (4CD) - 4 disk collection of tracks that have been processed using the Out Of Phase Stereo (OOPS) technique. This process uses audio phase cancellation to diminish or eliminate sounds that were placed in or near the middle of the stereo mix. The end result is a monophonic audio signal. Usually, OOPSing a song will result in a karaoketype effect, removing the vocal track but leaving most of the instrumental tracks intact and giving Beatle fans performances to greatly enjoy. One Of A Kind! Relativity Cadenza (3CD) - This set is a true must listen. All tracks are considered very unique due to edits and re-mixes. (much like the Barrett tapes) (Abbey Road) Whether you love or disapprove of so-called outfakes; this set is highly entertaining. Comment from a fan: Since many of the officially released Beatles songs contains edits (some being very crude and noticeable), I do not see why some people are so dead set against outfakes. If it was ok for George Martin to reshape the songs in order to make them better, why can't any talented person give it a try too? And if it succeeds in making the song a better version, I'll listen to it...Reeperbahn Bop and the Eyes Closed Mix make this a must have. Includes a complete "We can Work It Out" demo. Over 50 songs. Revolver Rains Again - This is not your typical Beatleg! This is a one of a kind listening experience! There seems to be a number of re-mixed Beatlegs nowadays and they're all great but this is the one that sets the standard. Whether it's the Obsolete Remix of Doctor Robert with just the Vocals and lead guitar present or the Right channel stereo remix of Paperback Writer and Got to get you into my life; its a wonder why Capitol never thought of doing this. Masterful! A total of 27 tracks that'll leave you wanting more! A++

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Rubber Sounds - Great collection of remixes of Rubber Soul. Most of the tracks have either the vocals or instruments centered. Some have instruments or vocals missing. None of the missing sounds were physically edited out but all were a result of mixing different combinations of regular and oopsed tracks. Another 5 star effort by the Beatles Re-mixers Group. All those who love these kind of remixes will love these tracks! Sgt Pepper Naked (TOUP) (3CD) - A new and exciting spin on the the classic Pepper album. 3 disks of pure listening pleasure. Disk 1: contains 23 tracks of remixes and other pleasurable sounds of Single channel isolations from side 1 of the album. Disk 2: contains 18 tracks of remixes from single channel isolations from side 2 of the album. Disk 3: 26 tracks. The first half of this disk is the left and center channels combined into a stereo mix. The second half is the center and right channels combined into stereo. Wonderful set. The White Album Chronicles (8CD) - 8 disk collection of White Album extractions and isolations created as a result of the proprietary process used to construct TOUP's 5.1 DTS mix. Discs 1 - 4 are the basic center, left, and right channel extractions with one original lp side per disc. All of the center channel tracks are first in lp order, followed by the left and then the right. Discs 5, 6 are the stereo reconstructions of each side of the cv stereo mix using the above extracted tracks. Putting the center and right channel extractions together into stereo can yield interesting results for example on Rocky Raccoon where the vocal ends up on the left, the guitar in the center, and the harmonica on the right. Disc 7 consists of the best of the additional instrumental or vocal isolations extracted from the stereo mixes on the two previous discs. Disc 8 is a collection of stereo remixes using two of the 2nd pass re-extractions, most of which are different from the individual ones on disc 7. A most fantastic listening experience! Tuned To A Natural E - Beatle-ness but with a twist of remixing going on! Very unique disks that contain re-mixed tracks you've got to hear. Hats off to the "Re-mixers Group".

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APPENDIX:
THE LAW AND BOOTLEGS

[Note: the following is a condensation of an article that recently appeared in rec.music.beatles. It is intended to supplement, not to detract from, the information presented in Doug Sulpy's article, which you may have received in a separate mailing. Its sole intent is to further inform the interested reader.]

U.S. federal law states that it is illegal to buy, sell, manufacture, play, broadcast, transmit or trade bootleg or counterfeit recordings (the citation is in 17 CFR, Vol. 17 of "Codes Of Federal Regulations," for those of you keeping score.) Possession of bootleg or counterfeit recordings is considered by the courts to be intent to commit all or part of the above. Thus, although ownership per se is not mentioned, ownership for all but strictly regulated purposes is forbidden by law. This goes for the seventeenth-generation tape copy of Ultra Rare Trax Vol.4 as well. Legal sources state that the generational distance of the bootlegged or counterfeit music from the original source in no way alters its illegal status. It's not, at the moment, considered cost-effective to pursue the bootleg consumer; rather the focus is, as it has been, on the seller and distributor. Some legal experts believe that possession is almost impossible to enforce. You may own the bootleg, it appears, if you are ready to prove that you have no intention of ever listening to it. Otherwise possession is tantamount to intent to listen, play, broadcast, etc. And that's illegal. Though in practical terms, it's possible---nay, even probable--- that some guy named Moe will never be caught, unless he does something really foolish, like selling, or becoming too public about his buying habits.

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Bibliography

Books:

Belmo (1997). The Beatles Not For Sale: The Beatles' Musical Legacy as Archived on Unauthorized Recordings. Collector's Guide Publishing. ISBN 0969-80809-7. Madinger, Chip and Easter, Mark (2000). Eight Arms To Hold You: The Solo Beatles Compendium. 44.1 Productions. ISBN 0615117244. Unterberger, Richie (2006). The Unreleased Beatles: Music and Film. Backbeat Books. ISBN 0879308923. Sulpy, Doug (2006). Complete Beatles Audio Guide. The_910 Publishing. ISBN 0-9643869-7-6. Sulpy, Doug & Schweighhardt, Ray (2007). Drugs, Divorce and a Slipping Image: The Complete, Unauthorized Story of the Beatles Get Back Sessions. The_910 Publishing. ISBN 0-9643869-8-3. Winn, John C. (2003). "The Beatles Recorded Legacy volume 1: Way Beyond Compare, 1957-1965". Multiplus Books. ISBN 0-9728362-0-9. Winn, John C. (2003). "The Beatles Recorded Legacy volume 2: That Magic Feeling, 1966-1970". Multiplus Books. ISBN 0-9728362-1-7. Winn, John C. (2005). "The Beatles Recorded Legacy volume 3: Lifting Latches: Inside the Beatles Vaults". Multiplus Books. ISBN 0-9728362-2-5.

Magazine/Newsletter

Sulpy, Doug (periodically between 1990-2007). "The 910". The 910 Publishing.

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BEATLES STUDIO SESSIONS


DATE
Jun. 22-23, 1961 Jun. 22-23, 1961 Jun. 22-23, 1961 Jun. 22-23, 1961 Jun. 22-23, 1961 Jun. 22-23, 1961 Jun. 24, 1961 Jun. 24, 1961 Jun. 24, 1961 Jun. 22-23, 1961 Jun. 22-23, 1961 ?

SONG TONY SHERIDAN TAPES My Bonnie (German intro) My Bonnie (English intro) My Bonnie (without intro) The Saints Cry For A Shadow Why Nobody's Child Ain't She Sweet Take Out Some Insurance On Me Baby Swanee River (with intro) this is NOT The Beatles Swanee River (without intro) this is NOT The Beatles Ain't She Sweet (acetate?) DECCA AUDITION Like Dreamers Do Money (That's What I Want) Till There Was You The Sheik Of Araby To Know Her Is To Love Her Take Good Care Of My Baby Memphis, Tennessee Sure To Fall (In Love With You) Hello Little Girl Three Cool Cats Crying, Waiting, Hoping Love of The Loved September in the Rain Besame Mucho Searchin' TONY SHERIDAN TAPES pt. 2 V

< false start/breakdown < stereo/mono


V V source S/M BEAR S/M BEAR S/M BEAR S/M BEAR S/M BEAR S/M BEAR S/M BEAR S/M BEAR S/M BEAR
S/M BEAR S/M BEAR

NOTES or
LEWISOHN "RS" pg.

ACEC

Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962 Jan. 1, 1962

M M M M M M M M M M M M M M M

DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA DECCA

May 24, 1962 January 3, 1964

Sweet Georgia Brown Sweet Georgia Brown (new lyrics) Bonus POSTUMOUS MIXES

S/M BEAR S/M BEAR

1964? 1964? 1964? 1964? 1968? 1968?

Sweet Georgia Brown (US version) Take Out Some Insurance On Me Baby (US evrsion) Ain't She Sweet (US version) Nobody's Child (US version) My Bonnie (medley version) The Saints (medley version)

M M M M

BEAR BEAR BEAR BEAR

S/M BEAR S/M BEAR

1970? 1970?

Cry For A Shadow (medley version 1) Cry For A Shadow (medley version 2)

S/M BEAR S/M BEAR

FIRST E.M.I. SESSIONS


Jun. 6, 1962 June 6?, 1962

E47052 Besame Mucho (take ?) original mix with Pete Best P.S. I Love You Ask Me Why M
ULT1, ASES

June 6?, 1962

Love Me Do (take ?) original version with Pete Best "Anthology 1" mix E47776 (E47730?) How Do You Do It (take 2) original mix Love Me Do (take 1?) single version Ringo drums E47852 P.S. I Love You (take 10) Andy White drums Please Please Me (take ?) original version "Anthology 1" mix Andy White drums Love Me Do (take 18) album version Andy White drums (fake) STEREO MIXING TL14063

ANT1

September 4, 1962 September 4, 1962 September 4, 1962

M M

ULT1, ASES PM1

September 11, 1962 September 11, 1962 1995? September 11, 1962

M M M

PPM ANT1 PPM

February 25, 1963 February 25, 1963

P.S. I Love You (take 10) Andy White drums Love Me Do (take 18) album version Andy White drums

S S

PPM PPM

November 26, 1962 November 30, 1962 November 30, 1962

E48382 Please Please Me (takes 16,17,18 edit) remake with correct lyric Ask Me Why (take 6) Tip Of My Tongue (Barrett notes do not list this) STEREO MIXING TL14207 M M
PM1 PM1

February 25, 1963 February 25, 1963

Please Please Me (take ?) remake with lyric mistake Ask Me Why (take 6) Bonus POSTUMOUS MIXES

S S

PPM PPM

June 4, 1905 June 4, 1905

Besame Mucho (take ?) "Sessions"/"Anthology 1" mix How Do You Do It (take 2) "Sessions"/"Anthology 1" mix

M M

SESS, ANT1 SESS, ANT1

"PLEASE PLEASE ME" SESSION E48875


Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963

There's A Place (take 1) There's A Place (take 2) There's A Place (take 3) There's A Place (take 4)
BD

S S S S

UC2 UC2 UC2 UC2

sulpy mentions a riff before take five - see "...please please me" pg 28 "910"
Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963

There's A Place (take 5) There's A Place (take 6) There's A Place (take 7) There's A Place (take 8) There's A Place (take 9) There's A Place (take 10) I Saw Her Standing There (take 1) called "Seventeen" I Saw Her Standing There (take 2) I Saw Her Standing There (take 3) I Saw Her Standing There (take 4) I Saw Her Standing There (take 5) I Saw Her Standing There (take 6) I Saw Her Standing There (take 7) I Saw Her Standing There (take 8) I Saw Her Standing There (take 9) E48876

BD

S S S S S S S S

UC2 UC2 UC2 UC2 UC2 UC2

BD

Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963

UC2, ARVS UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2

need ARVS for announcement

EP EP EP BD BD BD

S S S S S S S

Feb. 11, 1963 Feb. 11, 1963

Do You Want To Know A Secret (take 1-6) A Taste Of Honey (take 1-5) E48877

Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963 Feb. 11, 1963

Do You Want To Know A Secret (take 7) SI onto take 6 Do You Want To Know A Secret (take 8) SI onto take 6 A Taste Of Honey (take 6) SI onto take 5 A Taste Of Honey (take 7) SI onto take 5 There's A Place (take 11) SI onto take 10 There's A Place (take 12) SI onto take 10 There's A Place (take 13) SI onto take 10 I Saw Her Standing There (take 10) SI onto take 9 I Saw Her Standing There (take 11) SI onto take 1 I Saw Her Standing There (take 12) SI onto take 1 Misery (take 1) Misery (take 2) Misery (take 3) Misery (take 4) Misery (take 5) Misery (take 6) Misery (take 7) Misery (take 8) Misery (take 9) >>>DOES IT EXIST ON THIS REEL E48878 Misery (take 10-11) Hold Me Tight (takes 1-13) original version Anna (take 1-3)
BD BD BD BD BD BD BD

S S S S S S S S S S S S S S S S S S

UC2, UNS7, NFS UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2 UC2

Boys (take 1) Chains (take 1-4) Baby It's You (take 1-3) E48879
Feb. 25, 1963

Twist And Shout (take 1) Twist And Shout (take2) E48909 MIX of E48878

PPM

Feb. 20, 25, 1963

Misery (take 16) SI onto take 11 E48978 MIXES of E48878

PPM

maybe put on D4

Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 Feb. 20, 25, 1963 Feb. 25, 1963

Anna (take 4) Boys (take 2) Chains (take 1) Baby It's You (take 5) SI onto take 3 Do You Want To Know A Secret (take 8) E48979 MONO MIXES

M M M M M

PPM PPM PPM PPM PPM

Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963

There's A Place (take 13) I Saw Her Standing There (take 9, 12 edit) A Taste Of Honey (take 7) STEREO MIXES

M M M

PPM PPM PPM

Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 November 30, 1962 November 30, 1962

There's A Place (take 13) I Saw Her Standing There (take 9, 12 edit) Twist And Shout (take 1) A Taste Of Honey (take 7) Ask Me Why (take 6) Please Please Me (takes 16,17,18 edit) remake with correct lyric (fake) STEREO MIXING TL14063 Love Me Do (take 18) album version Andy White drums P.S. I Love You (take 10) Andy White drums ?

S S S S M M S S

PPM, EXP PPM, EXP PPM, EXP PPM, EXP PM1 PM1 16, 17, 23, 24, 28, 32

February 25, 1963 February 25, 1963

PPM PPM

Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963 Feb. 25, 1963

Anna (take 3) Boys (take 1) Chains (take 1) Misery (take 16) SI onto take 11 Baby It's You (take 5) SI onto take 3 Do You Want To Know A Secret (take 8) Bonus POSTUMOUS MIXES

S S S S S S

PPM, EXP PPM, EXP PPM, EXP PPM, EXP PPM, EXP PPM, EXP

1982 1995 1995 1982

I Saw Her Standing There (take 6) Abbey Road Show I Saw Her Standing There (takes 7 & 8) "Anthology" mixes I Saw Her Standing There (take 9) "Anthology" mix I Saw Her Standing There (take 11) Abbey Road Show

S M? S S

ARVS ANT1 FREE ARVS

1982

I Saw Her Standing There (take 9, 12 edit) Abbey Road Show

ARVS

March 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963

E49015 From Me To You (take 1) From Me To You (take 2) From Me To You (take 3) From Me To You (take 4) From Me To You (take 5) From Me To You (take 6) From Me To You (take 7) Thank You Girl (take 1) Thank You Girl (take 2) Thank You Girl (take 3) Thank You Girl (take 4) Thank You Girl (take 5) Thank You Girl (take 6) Thank You Girl (take 7) Thank You Girl (take 8) Thank You Girl (take 9) Thank You Girl (take 10) Thank You Girl (take 11) Thank You Girl (take 12) Thank You Girl (take 13) From Me To You (take 8) "edit piece 1" From Me To You (take 9) "edit piece 2" From Me To You (take 10) From Me To You (take 11) "edit piece 4" From Me To You (take 12) "5" From Me To You (take 13) "edit piece 6" E49016 The One After 909 (take 1) The One After 909 (take 2) The One After 909 (take 3) The One After 909 (take 4) The One After 909 (take 5) E48989 MONO MIXING Thank You Girl (takes 6, 13, 17, 20, 21, 23 edit) E49088 MONO MIXING From Me To You (takes ? edit) STEREO MIXING Thank You Girl (takes 6, 13, 17, 20, 21, 23 edit) From Me To You (takes ? edit)
BD BD EP EP EP EP EP EP EP EP BD BD BD BD

Need Tobe Milo "Studio Sessions" for superior quality

S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S M M S S

UC2 UC2 UC2 UC2 UC2 UC2 UC2

Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963

UC2 UC2 UC2 UC2 UC2 UC2

Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963

UC2 UC2 UC2 UC2 UC2 UC2 UC2

Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963

EP EP EP EP EP EP

UC2 UC2 UC2 UC2 UC2 UC2

Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963 Mar. 5, 1963

BD

UC2 UC2 UC2 UC2 UC2

Mar. 13, 1963

PM1

Mar. 14, 1963

PM1

Mar. 13, 1963 Mar. 14, 1963

2ND, EXP RED, EXP

Bonus POSTUMOUS MIXES


1982 1982 1982 1982

From Me To You (takes ? edit) Barrett alternate mix 1 of final version From Me To You (takes ? edit) Barrett alternate mix 2 of final version Thank You Girl (takes 6,13,17,20,21,23 edit) Barrett alternate mix 1 of final version Thank You Girl (takes 6,13,17,20,21,23 edit) Barrett alternate mix 2 of final version The One After 909 (takes 4, 5 edit) The One After 909 (take 2) Barrett mono mix The One After 909 (takes 4, 5 edit) Barrett mono mix The One After 909 (takes 4, 5 edit) "Sessions" mix, the only stereo mix? The One After 909 (3,4,5) excerpts"Anthology mono mix The One After 909 (takes 4, 5 edit) "Anthology mono mix

S S S S M M M S M M

TMDM TMDM TMDM TMDM Sulpy does not acknowledge 2nd mix "take 14 with edit end from take 30" "take 30 edited best" similar to "Second Album"

? 1982 1982 1983 1995 1995

UNS7 TMDM ASES SESS ANT1 ANT1

see Sulpy note below Sulpy does not qualify these diff mixes but they are each different

"WITH THE BEATLES"


Jul. 1,4, 1963 Jul. 1,4, 1963 Jul. 1,4, 1963
1964?

E49997-99? She Loves You (takes ? edit) I'll Get You (take ?) "Get You In The End" I'll Get You (take ?) E50165 You Really Got A Hold On Me (takes 7, 10, 11 edit) E50166 Money (takes 6, 7 edit RM7?) Devil In Her Heart (take 6) M M M
WITH

M M D

PM1 PM1 2ND

Jul. 18, 1963


August 21, 1963

August 21, 1963 August 21, 1963

WITH WITH

Jul. 30, 1963

E50189
? ?
August 21, 1963

Please Mr. Postman (take 3?) off line? Please Mr. Postman (take 7, 9?) off line? Please Mr. Postman (take 9) E50190 It Won't Be Long (take ?) off line? It Won't Be Long (take 17?) off line? It Won't Be Long (take 17, 21 edit) E50191? piano/drum instrumental (off line) could this be "Untitled Test - G.M. Piano"? E50204 Till There Was You (take 8) remake Roll Over Beethoven (takes 7, 8 edit) E50205 All My Loving (take 14) E50523 All I've Got To Do (take 15)

M M M M M M M M M M

ALF ALF WITH

? ?
August 21, 1963

ALF ALF WITH

ALF (24)

Sulpy qualifies the date placement.

August 21, 1963 August 21, 1963

WITH WITH

August 21, 1963

WITH

Sep. 11, 1963


September 30, 1963

WITH

E50524
September 30, 1963

Not A Second Time (take 9) E50527 Messages to Australia (take 4?) Hold Me Tight (take 20a) Hold Me Tight (take 20b) Hold Me Tight (take 21) Hold Me Tight (take 22) Hold Me Tight (take 23) Hold Me Tight (take 24) Hold Me Tight (take 25) Hold Me Tight (take 26) Hold Me Tight (take 27) Hold Me Tight (take 28) Hold Me Tight (take 29) E50528 Don't Bother Me (take 10) Don't Bother Me (take 11) Don't Bother Me (take 12) Don't Bother Me (take 13) Don't Bother Me (take 15) E50528-E50776-E50869 Little Child (takes 21) E50528-E50529-E50506 I Wanna Be Your Man (16) MONO MIXING
BD

WITH

September 12, 1963


September 12, 1963 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982?

M S S S S S S S S S S S S S S S M M M

CORE M12 M12 UC2 UC2 UC2 UC2 UC2 UC2 UC2, UNS7 UC2 UC2 Upgraded on Tobe Milo "Studio Sessions" with potential extra in-between sound

1982? 1982? 1982? 1982? September 30, 1963

UC2 UC2 UC2 UC2 WITH

October 23, 1963

WITH

October 23, 1963

WITH

October 23, 1963

Hold Me Tight (take 26,29 edit) E50887 The Beatles Christmas Record E50888-89 I Want To Hold Your Hand (take 1) I Want To Hold Your Hand (take 9) I Want To Hold Your Hand (take 10?) fragment I Want To Hold Your Hand (take 17) E62175 E50889-90 This Boy (take 6?) This Boy (take 12/13 edit) This Boy (take 13?) This Boy (takes 15, 17 edit?) MONO MIXING
BD BD BD BD? ?

WITH

Oct. 17, 1963


?

M M M M S M M M S

XMAS

1995? 1995? 1995? Nov. 7, 1966

ANT ANT ANT PM1

1995? 1995? 1995? Nov. 10, 1966?

ANT FREE ANT PM1

October 21, 1963 October 21, 1963

I Want To Hold Your Hand (take 17) This Boy (take 15 RM1-RM2 edit)

M M

45/MEET RARITIES-UK

October 29, 1963

STEREO MIXING E509055? It Won't Be Long (take 17,21 edit) All I've Got To Do (take 15) All My Loving (take 14) Don't Bother Me (take 15) Little Child (takes 21) Till There Was You (take 8) Please Mr. Postman (take 9) Roll Over Beethoven (takes 7,8 edit) Hold Me Tight (take 26,29 edit) You Really Got A Hold On Me (takes 7,10,11 edit) I Wanna Be Your Man (16) Devil In Her Heart (take 6) Not A Second Time (take 9) S S S S S S S S S S S S S S
WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP WITH, EXP

October 30, 1963

Money (take 7) Bonus POSTUMOUS MIXES

Oct. 29, 1963? June 8, 1965

All My Loving (take 14) with hi-hat intro I Want To Hold Your Hand (take 17) E62175? She Loves You (takes ? edit RS1) used on "Collection Of Oldies" LP She Loves You (takes ? edit RS2) This Boy (takes 15, 17 edit RS15) alternate mix might be unedited PM1 version

S S S S S

GRT, MP3 GRT, CASUAL

Nov. 8, 1966 Nov. 8, 1966 Nov. 10, 1966?

TMDM TMDM TMDM

A HARD DAY'S NIGHT


January 29, 1964
January 29, 1964? 1995 1982? 1982? February 26, 1964

E51590 Can't Buy Me Love (take 1) off-line Can't Buy Me Love (take 1 & 2 edit) only the lead is from take 1 Can't Buy Me Love (take 2) Can't Buy Me Love (take 3) Can't Buy Me Love (take 4 RM1) E51592/3 Komm, Gib Mir Deine Hand (take 1) Komm, Gib Mir Deine Hand (take 2) Komm, Gib Mir Deine Hand (take 7) Komm, Gib Mir Deine Hand (take 9) Komm, Gib Mir Deine Hand (take 10) Komm, Gib Mir Deine Hand (takes 5,7 edit) Sie Liebt Dich (take 10) Sie Liebt Dich (take 14) Komm, Gib Mir Deine Hand (takes 5,7 edit) Sie Liebt Dich (take 14)
EP

M M S S M M M M M M M S M M M

MON2 ANT1 ULT2, UNS7 UNS7 HDN

38-43, 45-9, 62

"Beatles Million Sellers" EP?

March 5, 1964 March 6, 1964 March 7, 1964 March 8, 1964 March 9, 1964 March 10, 1964 1995 March 10, 1964

ARVS .com .com .com ARVS PM1 ANT PM1 38, 42 38, 42

January 29, 1964 January 29, 1964

45 45

NOTE Sulpy's comments.

February 25, 1964


1995 February 26, 1964 February 26, 1964

E51860 You Can't Do That (take 6) You Can't Do That (take 9 RM3) You Can't Do That (take 9 RM2 or 4) E51861 And I Love Her (take 2) E51861/64/65 I Should Have Known Better (take 7) announcement only I Should Have Known Better (take 8) fragment I Should Have Known Better (take 9) announcement only I Should Have Known Better (take 11) fragment I Should Have Known Better (take 12) announcement only I Should Have Known Better (take 22) E51866 And I Love Her (take 11) fragment And I Love Her (take 12) announcement only E51898 And I Love Her (take 21 RM2) And I Love Her (take 21 RM?) E51898/99 Tell Me Why (take 4) Tell Me Why (take 5) announcement Tell Me Why (take 8) Tell Me Why (take 8) alternate vocal E51900 If I Fell (take 15) E51904 I'm Happy Just To Dance With You (take 4) Long Tall Sally (take 1) Long Tall Sally (take 1) Long Tall Sally (take 1) dialogue I Call Your Name (take 7) I Call Your Name (take 7) I Call Your Name (take 7) I Call Your Name (takes 5,7 edit) STEREO MIXING E51975 M M S S ? M S M S
HDN 2ND 2ND, GRT PM1 LPSC 2ND 2ND RARITIES-UK PM1 41-2, 44-6 11, 41-2, 45-6, 48-9, 156, 180 41, 45-9 BD BD BD BD

M M M M

ANT1 HDN 2ND/45 - US 38-40, 43-4, 46-9

1995

ANT1

February 26, 1964


1995 1995 1995 1995 1995 March 3, 1964

M M M M M M M M

ANT ANT ANT ANT ANT HDN 39-41, 45-7

1995 1995

ANT ANT

February 27, 1964


June 22, 1964 March 3, 1964?

M M M M M M M

HDN HDN/45 - US

39-41, 45-7, 65

1995 1995 March 3, 1964 March 3, 1964?

ANT ANT HDN CORE, HDN-orig FILM 40-1, 45-7

March 3, 1964

HDN

40-1, 45-9

March 1, 1964
March 3, 1964 March 10, 1964 March 10, 1964 June 22, 1964 ? March 4, 1964 March 10, 1964 June 4, 1964 June 22, 1964

March 12, 1964 March 12, 1964

Komm, Gib Mir Deine Hand (takes 5,7 edit) Sie Liebt Dich (take 14) E52399 A Hard Day's Night (take 1) incomplete A Hard Day's Night (take 2)
BD

S S

RARITIES-UK RARITIES

April 16, 1964


1982? 1982?

S S

UC3 ARVS

1982? 1982? 1982? 1982? 1982? 1982? 1982?

A Hard Day's Night (take 3a) I suspect this is actually take 3 A Hard Day's Night (take 3b) I suspect this is actually take 4 A Hard Day's Night (take 4) I suspect this is actually take 5 miscalled A Hard Day's Night (take 6) A Hard Day's Night (take 7) A Hard Day's Night (take 8) A Hard Day's Night (take 9) incomplete Does take 5 exist or is there merely some confusion over the double take 3? Also, Lewisohn mentions five complete takes. Which are here.

BD

S S S

ARVS UC3 UC3 UC3 UC3 UC3 UC3

BD

S S S S

BD

April 23, 1964

A Hard Day's Night (take 9 RM10) A Hard Day's Night (take 9) edited extended end for film "A HARD DAY'S NIGHT" Film Production Acetate E52430? A Hard Day's Night (take 9) And I Love Her (take 21) If I Fell (take 15)

M M

HDN

41, 43-9, 55, 62, 193

June 9, 1964

HDN-US, MKG, HDG4.1?

June 9, 1964?

M M S?

HDG3 HDG3 HDG3

June 1, 1964
June 4, 1964 June 22, 1964 June 4, 1964 June 4, 1964 June 4, 1964 June 22, 1964

E52694 Matchbox (take 5) Matchbox (take 5) I'll Cry Instead (takes 6, 8 edit) true long version I'll Cry Instead (takes 6, 8 edit) short version Slow Down (take 6) Slow Down (take 6) E52695/96 I'll Be Back (take 2) I'll Be Back (take 3) I'll Be Back (take 12) I'll Be Back (take 13) I'll Be Back (take 14) I'll Be Back (take 15) announcement I'll Be Back (take 16 RM2) I'll Be Back (take 16 RM3) E52697 Things We Said Today (take 3) E52698 Anytime At All (take 11 RM2) Anytime At All (take 11 RM3) E52699 When I Get Home (take 11 RM2) When I Get Home (take 11 RM3) INTERIM RECORDING No Reply (take 1 demo) You'll Know What To Do (demo) M M
ANT1 ANT1 BD BD BD

M S M M M S M M M M M M M M

45-US, RARITIES-UK PM1 HDN-US,45-US HDN 45-US, RARITIES-UK PM1 44-6 44-7 44-6, 55

1995? 1995? 1995? 1995? 1995? 1995? June 22, 1964 June 22, 1964

ANT1 ANT1 ANT ANT ANT ANT HDN 65 44, 46-7

June 2, 1964
June 4, 1964

M M M M M

HDN

44-9

June 22, 1964 June 22, 1964

HDN NEW

44-7

June 22, 1964 June 22, 1964

HDN NEW

44-7

June 3, 1964
1995? 1995?

45

1995?

Jimmy Nicole drum rehearsal (brief) STEREO MIXING And I Love Her (take 21) When I Get Home (take 11) Anytime At All (take 11 RS1) I'll Be Back (take 16) If I Fell (take 15) A Hard Day's Night (take 9 RS1) I Should Have Known Better (take 22) I'm Happy Just To Dance With You (take 4) Can't Buy Me Love (take 4) You Can't Do That (take 9 RS1) Tell Me Why (take 8) Things We Said Today (take 3) I'll Cry Instead (takes 6, 8 edit) Bonus POSTUMOUS MIXES

EXP

June 22, 1964

46

S S S S S S S S S S S S S

HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP HDN, EXP

1982 1980? 1995 1982

I'll Cry Instead (takes 6, 8 edit) fake long version And I Love Her (take 21) with extended end A Hard Day's Night (take 1) A Hard Day's Night (take 9) Barrett alternate mix

S S M S

CASUAL RARITIES-US ANT1 ARVS

July 17, 1964


July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964 July 17, 1964

BBC "FROM US TO YOU" SESSION From Us To You Kansas City/Hey, Hey, Hey, Hey Long Tall Sally If I Fell Boys I'm Happy Just To Dance With You (instrumental) I'm Happy Just To Dance With You I Should Have Known Better I Should Have Known Better (without harmonica) I Should Have Known Better Things We Said Today A Hard Day's Night From Us To You FS M M M M M M M M M M M M M
PARL, COMP PARL, CORE PARL, CORE PARL, CORE PARL, CORE PARL, COMP PARL, AKB PARL, COMP PARL, COMP PARL, AKB PARL, AKB PARL, AKB PARL, COMP All upgraded from tape source on Purple Chick "Complete BBC Sessions Upgraded"

BEATLES FOR SALE


August 11, 1964
October 26, 1964

E53611 Baby's In Black (take 14 RM2) E53614 M


SALE 47, 48, 51-3, 62, 84

August 14, 1964

1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982?

I'm A Loser (take 1) I'm A Loser (take 2) I'm A Loser (take 3) I'm A Loser (take 4) I'm A Loser (take 5) I'm A Loser (take 6) I'm A Loser (take 7) I'm A Loser (take 8) announcement I'm A Loser (take 8) Barrett mix I'm A Loser (take 8 RM2) Mr. Moonlight (take 1) announcement Mr. Moonlight (take 1) Mr. Moonlight (take 2) fragment Mr. Moonlight (take 4) Barrett mix E53615 Leave My Kitten Alone (take 4) off line Leave My Kitten Alone (take 5) Barrett mix HOLLYWOOD BOWL stereo mixing E53964 I Don't Want To Spoil The Party (take 19) E53965 What You're Doing (take 2?) announcement What You're Doing (take 5) E53966 Every Little Thing (take 9 RM1?) E53967 What You're Doing (take 11) No Reply (take 1) No Reply (take 2) "Anthology" mix No Reply (take 8) E54055 E54078/79 Eight Days A Week (takes 1, 2, 4 fragments Eight Days A Week (take 5) Eight Days A Week (takes 13,15 RM? edit) E54090 She's A Woman (Take 1) incomplete She's A Woman (Take 2) She's A Woman (Take 3) She's A Woman (Take 4) She's A Woman (Take 5?) not announced? She's A Woman (Take 6) She's A Woman (Take 7)

BD

S S S

UC3 UC3, UP G UC3 UC3 UC3 UC3 UC3 UC3 TMDM SALE ARVS ANT ANT TMDM 48, 51-3

BD BD

S S S S S S M M

1982
October 26, 1964

1995 1995 1995 1982?

BD ?

M M S

February 19, 1982? February 19, 1982?

BD

M M

MP3 ASES, UNS2 48

August 23, 1964 August 27, 1964

September 29, 1964


October 26, 1964

M M
BD

SALE

49, 51-3

1995 1995

ANT ANT

September 30, 1964


October 27, 1964

M S
BD

SALE

49, 52, 53

1982 1995 1995 October 16, 1964

TMDM ANT ANT1 SALE 49, 50, 52, 53

M M M M M M

June 17, 1905 June 17, 1905 October 27, 1964

ANT1 ANT1 SALE 49, 50, 52, 53

October 8, 1964
1982 1982 1982 1982 1982 October 12, 1964 1982

M S
BD BD

ARVS UC3 UC3 UC3 UC3 PM1 UC3 38, 49, 50-52, 62

S S S S S

October 12, 1964? October 12, 1964? October 12, 1964 October 21, 1964 October 12, 1964

She's A Woman (Take 6) acetate She's A Woman (Take 7) acetate She's A Woman (Take 6 RM1) She's A Woman (Take 6 RM2) She's A Woman (Take 6) with count-in E54294 Kansas City/Hey-Hey-Hey-Hey (take 1 RM1?) Kansas City/Hey-Hey-Hey-Hey (take 2) Mr. Moonlight (takes 4, 8 RM1/2 edit) I Feel Fine (take 1) I Feel Fine (take 2) I Feel Fine (take 5) E54295 I Feel Fine (take 6) I Feel Fine (take 7) announcement I Feel Fine (take 8?) I Feel Fine (take 9) I'll Follow The Sun (take 8 RM1) Everybody's Trying To Be My Baby (take 1 RM1) E54296 Rock and Roll Music (take 1 RM1) Words Of Love (take 3 RM1) I Feel Fine (take 9 RM3) I Feel Fine (take 9 RM4) E54315 Honey Don't (take 5) E54316 What You're Doing (take 19) Christmas Speech (take 1) Hello Dolly Paul speech Another Beatles Christmas Record (take 5) STEREO MIXING
FS BD BD

M M M M S

ACEC ACEC RARITIES-UK 65/45 - US EP box 1991

October 18, 1964 October 26, 1964


1995

M S M S S S S S S S M M M M M M

SALE ANT1 SALE UC3 UC3 UC3

50, 51, 53, 167, 172, 180

October 27, 1964


1982 1982 1982

48, 50, 52-3 50-3

1982 1982 ? 1982

UC3 UC3 CORE UC3 SALE SALE 50-3, 62

October 21, 1964 October 21, 1964

October 26, 1964 October 26, 1964

SALE SALE

50-3 50-3

October 21, 1964 October 21, 1964

UK-45, OLDIES US-45,' 65, RED

October 26, 1964 October 27, 1964

M M M M M M

SALE

51-3, 55

October 27, 1964 ? ? ?


October 26, 1964

SALE XMAS XMAS XMAS XMAS

49, 51-3

51

October 27, 1964

Eight Days A Week (takes 13,15 edit) Every Little Thing (take 9) What You're Doing (take 19) Honey Don't (take 5) E52457

S S S S S S S S S

EXP EXP EXP EXP

November 4, 1964

I'll Follow The Sun (take 8) Everybody's Trying To Be My Baby (take 1) Rock and Roll Music (take 1) Words Of Love (take 3) Mr. Moonlight (takes 4,8 edit)

EXP EXP EXP EXP EXP

I Don't Want To Spoil The Party (take 19) I'm A Loser (take 8) Baby's In Black (take 14) No Reply (take 8) I Feel Fine (take 9) I Feel Fine (take 9) with whisper intro Bonus POSTUMOUS MIXES
1995 1983? 1983?

S S S S S S

EXP EXP EXP EXP PM1 UK - RED

Mr. Moonlight (take 4) "Anthology" mix Leave My Kitten Alone (take 5) Leave My Kitten Alone (take 5) same as "Sessions" with earlier fade

M S? S?

ANT1 SESS ANT1

HELP!
February 15, 1965 ?
February 18, 1965 February 18, 1965 February 18, 1965

Ticket To Ride (take 2) extended end Ticket To Ride (take 2 RM1) Another Girl (take 1) I Need You (take 5) CHECK MOVIE MIX ON ELNR (Sulpy claims diff on orig print)

S M M M

URT3 HELP HELP HELP 54-7, 62 54-6, 62 54-6, 62

February 16, 1965 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982? 1982?
February 18, 1965

Yes It Is (take 1) Yes It Is (take 2) Yes It Is (take 3) Yes It Is (take 4) Yes It Is (take 5) Yes It Is (take 6) Yes It Is (take 7) Yes It Is (take 8) Yes It Is (take 9) not announced? Yes It Is (take 10) Yes It Is (take 11) not announced? Yes It Is (take 14) with announcement and rehearsal excerpt Yes It Is (take 14 RM1?) "15" SI onto take 14
BD BD? BD BD BD BD BD BD BD?

S S S S S S S S S S S S M

UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR UC3, ELNR ELNR 54-57

February 17, 1965


February 18, 1965

The Night Before (take 2) CHECK MOVIE MIX ON ELNR (Sulpy claims diff on orig print) You Like Me Too Much (take 8)

M M

HELP

54-6, 58, 62

February 18, 1965

HELP

54-6, 62

February 18, 1965


1995 1995 February 20, 1965 February 23, 1965

You've Got To Hide Your Love Away (take 1 & 2?) excerpts You've Got To Hide Your Love Away (take 5) You've Got To Hide Your Love Away (take 9) only two full takes If You've Got Trouble (take 1) full length see below

S S M S

ANT1 ANT1 HELP UNS2 55-6, 62 55-6

February 20, 1965

Tell Me What You See (take 4)

HELP

55-6, 60

February 19, 1965


February 20, 1965? February 20, 1965

You're Going To Lose That Girl (take 3 RM1?) from film? with bongos You're Going To Lose That Girl (take 3 RM2)

S M

EXP HELP 56, 57, 62

February 20, 1965


1983? February 20, 1965 February 23, 1965 1983? 1983?

That Means A Lot (rehearsal?) excerpt That Means A Lot (take 1 RM1?) That Means A Lot (take 1 RS1?) see below That Means A Lot (take 1 or 2?) That Means A Lot (take 1 or 2?) UNS2 claims it is take 2. Lewisohn claims no take 2 mix.

S M S M? S?

TMDM 13 TMDM 12 TMDM 14 UNS2, ASES SESS, ANT2

56-7 More Masters has full end.

February 20, 1965 February 22, 1965

11 stereo mixes (chronicle) Lewisohn states 11 mixed trax for film (rec sess) STEREO MIXING Yes It Is (take 14) also on "The Heineken Tape" S S S S S S S S S S S M
BD PM1, CASUAL HELP see above HELP HELP HELP HELP HELP HELP HELP see above Sulpy claims CD is diff than vinyl Sulpy claims CD is diff than vinyl Sulpy claims CD is diff than vinyl 56

February 23, 1965

1987?

You've Got To Hide Your Love Away (take 9) If You've Got Trouble (take 1) Tell Me What You See (take 4) I Need You (take 5) Another Girl (take 1) Ticket To Ride (take 2) You Like Me Too Much (take 8) The Night Before (take 2) You're Going To Lose That Girl (take 3 ) That Means A Lot (take 1) Ticket To Ride (take 2 RM2) for film That Means A Lot (take 20) That Means A Lot (take 21?) sounds like a recorded over rehearsal Is there a take 22? That Means A Lot (take 23) That Means A Lot (take 24) incomplete? That Means A Lot ("test") recorded over the end of take 24?
BD ?

?
1987? 1987? 1987? 1987? 1987? 1987? 1987?

March 15, 1965

ELNR

57

March 30, 1965

S S S S S

TMDM 15 TMDM 16

TMDM 17 TMDM 18 TMDM 19

April 13, 1965

Help! (take 1) Help! (take 2) Help! (take 3) Help! (take 4) Help! (take 5) Help! (take 6) Help! (take 7) Help! (take 8)

BD BD BD

S S S S S

UC3 UC3 UC3 ARVS, TMDM, ELNR UC3 UC3 UC3 UC3

BD

S S S

BD

Help! (take 9) Help! (take 10) Help! (take 11) Help! (take 12) Help! (take 12) "13" raw alternate mix
April 18, 1965 June 18, 1965 ? BD

S S S S S M M ?

UC3 UC3 UC3 UC3 UC3 see acetate below 45, HELP, EXP CD3 58, 60, 62

Help! (take 12 RM3) mono mix of stereo take vocal Help! (take 12 RM4) alt vox Help! (take 12) with count-in "HELP!" Film Production 78 rpm acetates Another Girl (take 1) I Need You (take 5) CHECK MOVIE MIX ON ELNR (Sulpy claims diff on orig print) Yes It Is (take 14) You Like Me Too Much (take 8) You've Got To Hide Your Love Away (take 9)

April? 1965

M M M M M M M M M

ELNR ELNR

54-6, 62 54-6, 62

ELNR ELNR ELNR ELNR ELNR ELNR ELNR

54-57 54-6, 62 55-6, 62 58, 60, 62 54-7, 62 54-6, 58, 62 56, 57, 62

April 18, 1965 March 15, 1965

Help! (take 12 RM3?) Ticket To Ride (take 2 RM2?) The Night Before (take 2) You're Going Lose That Girl (take 3) CHECK MOVIE MIX ON ELNR (Sulpy claims diff on orig print)

May 10, 1965

Dizzy Miss Lizzy (take ) oops'd version


May 10, 1965 May 10, 1965 May 10, 1965 May 10, 1965

M M S M S

HDG3 HELP HELP ELNR PM1

58, 62

Dizzy Miss Lizzy (take 7) Dizzy Miss Lizzy (take 7) Bad Boy (take 4) Bad Boy (take 4)

58, 86

June 14, 1965


June 14, 1965 1995 June 17, 1965 1995

I've Just Seen A Face (take 6) I'm Down (take 1) I'm Down (take 7) Yesterday (take 1) Yesterday (take 2) without strings Yesterday (take 2 RM2)

M S M M M M

HELP ANT1 ELNR ANT1 UP G HELP

59, 66, 62

59, 60, 62, 69

June 17, 1965

59, 60, 62, 67, 70, 77, 103, 120

June 15, 1965


1995 1995 June 18, 1965

It's Only Love (take 2) It's Only Love (take 3) It's Only Love (take 6)
BD

M M M

ANT1 ANT1 HELP 60, 62

June 17, 1965


June 18, 1965 November 15, 1965 November 15, 1965

Act Naturally (take 13) Wait (take 4) Wait (take 4) STEREO MIXING

M M S

HELP SOUL SOUL

60, 62 60, 68, 69

June 18, 1965

60

1987? April 28, 1976 1987? 1987? 1987? 1987?

I've Just Seen A Face (take 6) I'm Down (take 7) Yesterday (take 2) It's Only Love (take 6) Act Naturally (take 13) Help! (take 12 RS2) Bonus POSTUMOUS MIXES

S S S S S S

HELP PM1 HELP HELP HELP HELP

1995 1982 1983 1995

Yes It Is (takes 2,14 edit) the "Anthology" crap If You've Got Trouble (take 1) full length Barrett mix If You've Got Trouble (take 1) edit If You've Got Trouble (take 1) full length ELNR has what might be 2 (3?) other alt mixes.

M S S S

ANT2 ASES SESS ANT2

August 29, 1965 August 30, 1965

HOLLYWOOD BOWL HOLLYWOOD BOWL

RUBBER SOUL
October 12, 1965
? ? ? ? November 9, 1965 1982

Run For Your Life (take 1) announcement studio chat (placement is speculative) possibly from "Norwegian Wood" sessions Run For Your Life (take 5?) with guide vocal - incomplete Run For Your Life (take 5) possibly fake - incomplete? Run For Your Life (take 5 RM1) Norwegian Wood (take 1) "This Bird Has Flown" Barrett mix

S S M M M S

UC3 HDG3 AWOA HDG3 SSES TMDM, HDG1 63, 68, 69 63

October 13, 1965


October 25, 1965

Drive My Car (take 4 RM1)

SSES

63, 66, 69

October 16, 1965


1982? 1982? 1982? October 29, 1965 October 25, 1965

Day Tripper (take 1) Day Tripper (take 2) Day Tripper (take 3) Day Tripper (take 3 RM2) If I Needed Someone (take 1 RM1)

BD BD

S S S M M

UC3 UC3 UC3 SSES SSES 64, 66, 69, 83, 86

October 18, 1965


October 21, 1965 October 25, 1965

In My Life (take 3) rough mix excerpt with Hammond organ on the bridge In My Life (take 3 RM1)

M M

SSES SSES 64-6, 69

October 20, 1965


1982? 1982? October 28, 1965

We Can Work It Out (take 1) We Can Work It Out (take 2) with SI from October 29 We Can Work It Out (take 2 RM1) with announcement and count-in

S S M

UC3 UC3

SEE UPDATE ON REEL PAGE 64, 66, 68, 69, 83, 86

SSES, REV, AWOA, EXP?

October 29, 1965

We Can Work It Out (take 2 RM2)

SSES

October 21, 1965


1982? ? ? 1982? October 25, 1965

Norwegian Wood (take 2) "This Bird Has Flown" Barrett mix? Norwegian Wood (take 3) Norwegian Wood (take 4 RM1?) oops'd - is this what take 3 sounds like? Norwegian Wood (take 4) with announcement, count-in & false starts Norwegian Wood (take 4 RM1)

S S M S M

TMDM, AWOA, HDG1 MP3 EXP SSES, URT2, UNS7, HDG1 SSES 65-6, 69

October 22, 1965


October 25, 1965

Nowhere Man (take 4)

SOUL

65-6, 69

October 24, 1965


1982

I'm Looking Through You (take 1) STEREO MIXING Drive My Car (take 4) Day Tripper (take 3 RS1) In My Life (take 3) If I Needed Someone (take 1) Norwegian Wood (take 4) Nowhere Man (take 4)

UNS2, SSES

65

October 26, 1965

S S S S S S

Y&T Y&T, SSES, CASUAL SOUL-US Y&T SOUL-US Y&T

October 29, 1965


October 29, 1965 October 29, 1965

MONO MIXING for "The Music Of Lennon and McCartney" Day Tripper (take 3 RM3) We Can Work It Out (take 2 RM3) M M
TAPE TAPE?

November 3, 1965 November 9, 1965 November 15, 1965

Michelle (take 2 RM1) SI onto take 1 Michelle (take 2 RM2) SI onto take 1

M M

SOUL-US, SSES SSES 67-9

November 4, 1965
November 9, 1965 1982? 1982 1982 November 30, 1965 November 30, 1965

What Goes On (take 1 RM1) 12-Bar Original (rehearsal) 12-Bar Original (take 1) 12-Bar Original (take 2) 12-Bar Original (take 2 RM1) 12-Bar Original (take 2 RM1) acetate? UNS2 is cleaner but with more surface noise. ACE swirly but less surface noise.
BD

M S S S M M

SSES AWOA, HDG1, SSES TMDM TMDM ASES UNS2, ACE

67-9

67, 69

November 8, 1965
? ? November 9, 1965 November 9, 1965

Beatle Speech (take 1) "Think For Yourself" rehearsals COMPARE UNS7 Think For Yourself (take 1) off-line monitor mix? Think For Yourself (take 1) "Won't Be There With You" The Beatles Third Christmas Record STEREO MIXING

M M M M

UC1 EXP SOUL XMAS

67

67-9 67, 68

November 9, 1965

Think For Yourself (take 1 RS1) Michelle (take 2 RS1) What Goes On (take 1 RS1)
November 10, 1965

S S S

SOUL-US SOUL-US Y&T

STEREO MIXING Run For Your Life (take 5) We Can Work It Out (take 2 RS1) S S
SOUL-US SSES, Y&T

November 10, 1965


November 11, 1965 1982 November 15, 1965? November 15, 1965

The Word (take 3 RM1) I'm Looking Through You (take 4) with announcement , chat, false starts & no fade I'm Looking Through You (take 4) with false starts I'm Looking Through You (take 4)

M S S M

SSES ASES SOUL-US, SSES SSES

68, 69

67-9

November 11, 1965


November 11, 1965 November 15, 1965 ? ? November 15, 1965

The Word (take 3 RS1) You Won't See Me (take 2) Girl (take 2) backing tracks off-line monitor mix Girl (take 2) vocal/acoustic track - oops'd? Girl (take 2 RM1) STEREO MIXING I'm Looking Through You (take 4) probably the same as above but edited You Won't See Me (take 2) Girl (take 2) The Word (take 3 RS2) Day Tripper (take 3 RS2) We Can Work It Out (take 2 RS2) Bonus POSTUMOUS MIXES

S M M S? M

SOUL-US, SSES SSES REV, UC1, SSES, EXP EXP SSES 68, 69 68, 69

November 15, 1965


1987? November 15, 1965 November 15, 1965 1987?

S S S S S S

EXP SOUL-US SOUL-US EXP

Not sure about these two.

<<<

November 10, 1966 November 10, 1966

PM2 PM2

1982 1982? 1995 1982?

Norwegian Wood (take 1) "This Bird Has Flown" alternate Barrett mix Norwegian Wood (take 1) "This Bird Has Flown" alternate Barrett mix? Norwegian Wood (take 1) "This Bird Has Flown" Norwegian Wood (take 2) "This Bird Has Flown" Barrett mix? This appears to have different stereo seperation than mix listed above. Norwegian Wood (take 4) mock stereo? Day Tripper (take 3 RS2) TM Century mix with repaired drop-out I'm Looking Through You (take 1) alternate Barrett mix I'm Looking Through You (take 1) "Sessions" & " Anthology" mix 12-Bar Original (take 2) heavily edited Girl (take 2) In My Life (take 3)

S S S S S S S S S S S

ASES UNS2 ANT2 AWOA, HDG1

1977? 1990 1982 1983 1995 1977 1988

LOVE, SSES HDG4 SSES ANT2 ANT2 LOVE, SSES IMAG, SSES

REVOLVER

April 6, 1966
1995 April 27, 1966 June 6, 1966

E59734 Tomorrow Never Knows (take 1) "Mark 1" Tomorrow Never Knows (take 3 RM8) Tomorrow Never Knows (take 3 RM11) matrix XEX 606-1 S M M
ANT2 REVrG TMDM, REVG 70, 72, 76-8, 82, 84, 138

April 7, 1966
1995 1995

Got To get You Into My Life (take 5) alternate mix brief excerpt Got To get You Into My Life (take 5)

BD?

M S

ANT ANT2

April 8, 1966
June 20, 1966

Got To get You Into My Life (take 9 RM8) SI onto take 8

REVrG

72, 76, 79, 83, 84

April 11, 1966


May 16, 1966

Love To You (take 7 RM5) SI onto take 6 edits RM1-3 "Granny Smith"

REVrG

72, 73, 78, 81, 84

April 13, 1966


1982? 1982? April 14, 1966

Paperback Writer (take 1) Paperback Writer (take 2) Paperback Writer (take 2 RM2)

BD

S S M

UC3 UC3 REVrG 73, 74, 79, 83-4, 86

April 14, 1966


April 16, 1966

Rain (take 7 RM3) SI onto take 5 Rain (backwards reversed)

M M

REVrG PM2

74, 75, 79, 83, 194

April 17, 1966


May 12, 1966

Doctor Robert (take 7 RM4)

REVG

75, 78, 80, 84

April 20, 1966


1995 1995

And Your Bird Can Sing (take 2) oops'd? And Your Bird Can Sing (take 2)

M? S

REVG, UP G ANT2

April 21, 1966


1995 June 21, 1966

Taxman (take 11) Taxman (take 12)

S M

ANT2 REVrG 75-8, 84, 156

April 26, 1966


May 12, 1966 June 6,8, 1966

And Your Bird Can Sing (takes 10/6 edit RM7/8 edit) US And Your Bird Can Sing (takes 10/4 edit RM9/10 edit) UK Instrumental endings are from different takes.

M M

REVG REVrG

75, 77-8, 80, 82, 84

April 27, 1966


May 12, 1966 June 6, 1966

I'm Only Sleeping (take 13 RM5) I'm Only Sleeping (take 13 RM6?)

M M

REVG REVrG, CASUAL

77-8, 80, 82, 84, 160

April 28, 1966


1995 June 22, 1966

Eleanor Rigby (take 14) string only Eleanor Rigby (take 15 RM5)

S M

ANT2 REVrG 77, 82, 84-5

April 29, 1966 1995 1995

I'm Only Sleeping (rehearsal) excerpt I'm Only Sleeping (take 1)

M M

ANT2 ANT2

May 9, 1966 ? ?

For No One (take 1) off-line For No One (take 2) off-line

BD? BD?

M M

REVG REVG

May 16, 1966 ? ? ? ?

For No One (take 10) off-line For No One (take 10) off-line For No One (take 10) off-line For No One (take 10) off-line composite mix

M M M M

REVG REVG REVG REVG

May 19, 1966 ? ? June 21, 1966

For No One (take 14) off-line For No One (take 14) off-line composite mix For No One (take 14 RM8)

M M M

REVG REVG REVR 78-9, 82, 84

May 26, 1966 June 3, 1966 1995

Yellow Submarine (take 5 RM5) Yellow Submarine (take 5) additional SI onto take 5

M S

REVrG REAL

80-2, 84-5, 112, 164, 180

June 2, 1966 June 3, 1966

I Want To Tell You (take 4 RM1) "Laston's Surpurb" or "I Don't Know"

REVrG

81-2, 84

June 8, 1966 June 22, 1966

Good Day Sunshine (take 1 RM7)

REVrG

82-4

June 16, 1966 1995 June 17, 1966? June 17, 1966? June 17, 1966? June 17, 1966?

Here, There And Everywhere (take 7/13 edit) Here, There And Everywhere (take 13 reduction into take 14) SI onto take 14 Here, There And Everywhere (take 13 reduction into take 14) SI onto take 14 Here, There And Everywhere (take 13 reduction into take 14) SI onto take 14 Here, There And Everywhere (take 13 reduction into take 14) SI onto take 14 Here, There And Everywhere (take 14) bootleg composite mix Here, There And Everywhere (take 14 RM3)

S M M M M M M

REAL REVG REVG REVG REVG REVG REVrG 83-4

June 21, 1966

June 21, 1966 June 22, 1966

She Said, She Said (take 4 RM4) STEREO MIXING And Your Bird Can Sing (takes 10/6 edit RS1?) US And Your Bird Can Sing (takes 10/6 edit RS2?) UK above two might be the same Doctor Robert (take 7 RS1) US

REVrG

84

May 20, 1966

80

S S S

Y&T REVR

Y&T, REVG

Doctor Robert (take 7 RS2) UK I'm Only Sleeping (take 13 RS1) US I'm Only Sleeping (take 13 RS2) UK
June 21, 1966

S S S

REVR Y&T, REVG REVR

STEREO MIXING Love To You (take 7 RS1-3 edit) SI onto take 6 "Granny Smith" I Want To Tell You (take 4 RS2?) Here, There and Everywhere (take 14 RS2?) MONO MIXING Doctor Robert (take 7 RM6) STEREO MIXING For No One (take 14 RS1) Taxman (take 12 RS1/2 edit) S M
REVR REVR

84

S S

REVR REVR

REVG

June 22, 1966

STEREO MIXING Eleanor Rigby (take 15 RS1) She Said She Said (take 4 RS1) Good Day Sunshine (take 1 RS1) Yellow Submarine (take 5 RS2?) Tomorrow Never Knows (take 3 RS6?) Got To Get You Into My Life (take 9 RS1) STEREO MIXING S S S S S S
REVR REVR REVR REVR REVR REVR

84

October 31, 1966

Paperback Writer (take 2 RS1?) acetate? There is some scepticism about this one. I think it sonds different. Paperback Writer (take 2 RS2?) Paperback Writer (take 2 RS2?) acetate Paperback Writer (take 2 RS3?) Rain (take 7 RS1) SI onto take 5 Rain (take 7 RS?) SI onto take 5 Bonus POSTUMOUS MIXES

S S S S S S

HDG1

October 31, 1966 October 31, 1966 October 31, 1966 December 2, 1969 December 2, 1969?

PM2 ACEC REVG PM2 UNS3, UC3

86

86

compare with below

Tomorrow Never Knows (take 3) oops'd? Being played on LLT should add some validity to this. Paperback Writer (take 2 RS?) Barrett mix Rain (take 7) SI onto take 5 Barrett mix REVG 2-21 paperback RS7!!! EXP rain EXP tomorrow never 4/27/66 EXP sleeping 5/6/66

S? S S

UNS3, TAPE

1982 1982

TMDM TMDM compare with above

check

SGT. PEPPER'S LONELY HEARTS CLUB BAND


November 24, 1966

1997

Strawberry Fields Forever (take 1) isolated tracks excerpt with GM Strawberry Fields Forever (take 1)

M S
BAD

November 25, 1966


December 2, 1966

Pantomime: Everywhere It's Christmas (takes unknown)

XMAS

November 28, 1966


1982? 1982? 1982?

Strawberry Fields Forever (take 2) Strawberry Fields Forever (take 3) Strawberry Fields Forever (take 4)
BD

S S S

BAD BAD BAD

November 29, 1966


1982? 1982? 1982? November 29, 1966 November 29, 1966

Strawberry Fields Forever (take 5) Strawberry Fields Forever (take 6) Strawberry Fields Forever (take 7) reduction of take 6, SI onto take 7 Strawberry Fields Forever (take 7 RM3) Strawberry Fields Forever (take 7 RM3) acetate

BD

S S S M M

BAD BAD BAD TMDM BAD, ACEC 87-90, 92, 94, 98, 123, 130-1, 135, 155

December 6, 1966
1995? December 29, 1966

Christmas Messages (takes unknown) When I'm 64 (take 4 RM6) natural speed When I'm 64 (take 4 RM8?) NOTE CASSETTE from LLT When I'm 64 (take 4 RM8)

S? M M M

FREE MTYH3.1(MP3 is stereo) does this exist

December 30, 1966

PEPL

89-92, 108, 114, 122

December 9, 1966
1982? 1995

Strawberry Fields Forever (take 25) edit takes 15/24 SI onto take 25 Strawberry Fields Forever (take 25) excerpt track 2

S M

BAD ANT2

December 15, 1966


1982? December 15, 1966 December 22, 1966 December 29, 1966? December 29, 1966

Strawberry Fields Forever (take 26) SI onto take 26 Strawberry Fields Forever (take 26 RM9) Strawberry Fields Forever (take 7/26 RM12) edit takes 7 RM10 take 26 RM11 Strawberry Fields Forever (take 7/26 RS3?) edit takes 7 RS1 take 26 RS4 Strawberry Fields Forever (take 7/26 RS5) edit takes 7 RS1 take 26 RS4

S M M S S

BAD TMDM MMT BAD, NIR MMT-orig LP

January 9, 1967
January 9, 1967

Penny Lane (take 9) SI onto take 9 - flute and trumpet rehearsal excerpts - off line

M?

LOST

91-4, 98, 120, 131

January 12, 1967


January 12, 1967

Penny Lane (take 9 RM8) SI onto take 9 RM8 is the one Paul took home and decided it needed the Bach trumpet

TMDM

January 17, 1967


January 17, 1967 January 17, 1967 January 17, 1967

Penny Lane (take 9 RM9) SI onto take 9 Penny Lane (take 9 RM10) SI onto take 9 Penny Lane (take 9 RM11) SI onto take 9 - US promo 45 version - from disc Penny Lane (take 9) alternate promo video mix

M M M M

UNS7, URT1 TMDM HDG4 TAPE

can't find info

1995

Penny Lane (take 9) "Anthology" mix

ANT2

January 19, 1967 1997 1995

A Day In The Life (take 1) isolated tracks with George Martin voice over A Day In The Life (take 2) excerpts with take 1 intro

S M?

PEPL 1/15 ANT2, PEPL 1/16

93-101, 107, 109, 114, 133, 138, 182

January 20, 1967


January 30, 1967 January 30, 1967

A Day In The Life (take 6 RM1) reduction of take 4 - SI onto take 6 A Day In The Life (take 6 RM1) reduction of take 4 - SI onto take 6 - acetate Are these really separate?

M M

PEPL 1/17 ACE

January 25, 1967

Penny Lane (take 9 RM14) SI onto take 9

MMT

February 1, 1967
February 2, 1967 1987 November 1, 1967 March 6, 1967

Sgt Pepper's Lonely Hearts Club Band (take 10 RM1) acetate Sgt Pepper's Lonely Hearts Club Band (take 10) isolated tracks with GM voice-over Volume 28:Audience Applause and Atmosphere "Intro To Sgt. Pepper" (RM21) Sgt Pepper's Lonely Hearts Club Band (take 10 RM3) Includes Volume 6: Applause and Laughter Sgt Pepper's Lonely Hearts Club Band (take 10 RS8?) Includes Volume 6: Applause and Laughter Crossfades made on April 7, 1967

M S M M S

ACE PEPrL LOST-4 PEPrL


95, 101, 106-7, 114

March 6, 1967

PEPR

February 8, 1967
1995

Good Morning, Good Morning (take 8)

ANT2

95, 97, 99, 102, 108-7, 109, 114

February 9, 1967
February 21, 1967

Fixing A Hole (take 3 RM3/6 edit)

PEPrL

95, 99, 107-8, 114, 155

February 10, 1967


1995

A Day In The Life (take 8-11 edit pieces mixed) studio chat

PEPL 1/18, ANT2

February 13, 1967


April 21, 1967 1995 ?

Only A Northern Song (takes 3/11 edit RM11) "Not Known" Only A Northern Song (takes 3/12 mix) "Anthology" mix Only A Northern Song (takes 3/12 mix) natural speed

M S S

LOST, PEPL, CASUAL 97, 103, 109, 130, 163-4 ANT2 UP G

February 16, 1967


1987 November 1, 1967 April 19, 1967

Good Morning, Good Morning (take 11) isolated tracks excerpt with GM Animal Effects (RM20) Good Morning, Good Morning (take 11 RM23)

S M S

PEPrL LOST-3 PEPrL

February 17, 1967


1995 1995 1995 1995 1995

Being For The Benefit Of Mr. Kite (take 1) Being For The Benefit Of Mr. Kite (take 2) Being For The Benefit Of Mr. Kite (take 7) Being For The Benefit Of Mr. Kite (take 7) proper end Being For The Benefit Of Mr. Kite (take ) announcement

S S S M M

ANT2 ANT2 ANT2 PEPrL PEPrL

1987

Being For The Benefit Of Mr. Kite (take 9) isolated tracks with GM voice-over

PEPrL

February 20, 1967


June 17, 1905 March 31, 1967

Being For The Benefit Of Mr. Kite (unnumbered take) "Anthology" effects mix Being For The Benefit Of Mr. Kite (take 9 RM14)

S M

ANT2 PEPrL

February 22, 1967

A Day In The Life (take 6/7 edit piece 9 edit RM9)


February 22, 1967 February 22, 1967 February 22, 1967 ?

M
BD BD BD

PEPL 2/13 UNS3, PEPL2/21 UNS3, PEPL2/21 UNS3, PEPL2/21 EXP

A Day In The Life (take 6/7 edit RS4) A Day In The Life (take 6/7 edit RS5) A Day In The Life (take 6/7 edit RS6) A Day In The Life (take 6/7 edit piece 9 edit RS?) This is similar in mix to the above but sounds really weird. A Day In The Life (take 6/7 edit piece 9 edit) Barret mix with count-in

S S S S S

1982

TMDM, ARVS

February 23, 1967


February 23, 1967 March 21, 1967

A Day In The Life (take 6/7 edit piece 9 edit RS12) Lovely Rita (take 11 RM11/14 edit)

S M

PEPR PEPrL 100-1, 104, 108, 114

March 1, 1967
1987 1995 March 3, 1967

Lucy In The Sky With Diamonds (take 6) isolated tracks excerpt with GM Lucy In The Sky With Diamonds (take 6/8 mix) "Anthology" mix Lucy In The Sky With Diamonds (take 8 RM4)

S S M

PEPrL ANT2 PEPrL 100-1, 107-8, 114, 130

March 9, 1967
March 23, 1967

Getting Better (take 15 RM3)

PEPrL

March 15, 1967


1987 1995 April 4, 1967 April 4, 1967

Within You, Without You (take 2) isolated tracks excerpt with George Martin voice Within You, Without You (take 2) insumental backing - "Anthology" mix Within You, Without You (take 2 RM10/12 edit) Within You, Without You (take 2 RS3/5 edit)

S S M S

PEPrL ANT2 PEPrL PEPR

103-4, 107, 114

March 17, 1967


March 20, 1967

She's Leaving Home (take 9 RM6)

PEPrL

March 29, 1967 November 1, 1967


March 31, 1967

applause crossfade (RM20) With A Little Help From My Friends (take 11 RM15) "Bad Finger Boogie"

M M

LOST-5 PEPrL 101, 106-8, 114, 194

April 1, 1967
1995 April 1, 1967

Sgt. Pepper's Lonely Hearts Club Band (Reprise) (take 5) Sgt. Pepper's Lonely Hearts Club Band (Reprise) (take 9 RM9) STEREO MIXING

M M

ANT2 PEPrL

April 6, 1967 April 7, 1967

Good Morning, Good Morning (take 11 RS5) With A Little Help From My Friends (take 11 RS3?)

S S

PEPR PEPR

Being For The Benefit Of Mr. Kite (take 9 RS8?) Fixing A Hole (take 3 RS1)
April 17, 1967

S S S S S S S S

PEPR PEPR PEPR PEPR PEPR PEPR PEPR PEPR

Lucy In The Sky With Diamonds (take 8 RS5?) She's Leaving Home (take 9 RS6?) Getting Better (take 15 RS1) When I'm 64 (take 4 RS1) Lovely Rita (take 11 RS2)

April 20, 1967

Sgt. Pepper's Lonely Hearts Club Band (Reprise) (take 9 RS10?)

April 21, 1967


April 21, 1967

Edit For LP End (take 1) "Sgt. Pepper Inner Groove" "BREAKDOWN" John and Ringo dialog Bonus POSTUMOUS MIXES

M M

PEPrL

LOST

1995 1995 1982 1982 1982 10/26/1971

Strawberry Fields Forever (take 1) "Antlology" mix Strawberry Fields Forever (take 7 RM3) "Antlology" mix Strawberry Fields Forever (take 1) Barrett mix excerpt Strawberry Fields Forever (take 7) Barrett mix excerpt Strawberry Fields Forever (take 26) Barrett mix excerpt Strawberry Fields Forever (take 7/26 RS5) edit takes 7 RS1 take 26 RS4 When I'm 64 (take 4 RS1?) natural speed Penny Lane (take 9 RS1?) SI onto take 9 Penny Lane (take 9) SI onto take 9 - Barret mix Penny Lane (take 9) SI onto take 9 - alternate Barret mix? A Day In The Life (take 7) without crossfade Only A Northern Song (takes 3/11 edit RS1 made from RM6) "Not Known" Lucy In The Sky With Diamonds (take 8 RM20)

S M S M? M? S S S S S S S M

ANT2 ANT2 ARVS ARVS ARVS MMT, BLUE, CASUAL UP G MMT, BLUE TMDM ARVS IMAG, BLUE YSUB LOST

?
September 30, 1971 1982 1982 1988 October 29, 1968 November 1, 1967

MAGICAL MYSTERY TOUR


April 25, 1967
April 27, 1967 May 4, 1967 May 4, 1967

Magical Mystery Tour (take 9 RM4) very scratchy acetate Magical Mystery Tour (take 9 RM7) Magical Mystery Tour (take 9 RM7?) with additional vocals

M M M

MP3 ("Backyard Spool" Masterdisc) PEPL orig film 110-1, 127, 130-1

May 11, 1967


May 11, 1967

Baby You're A Rich Man (take 2 RM1) reduction take 12

PEPL, MMT

111, 121, 131, 151

May 12, 1967


May 12, 1967

All Together Now (take 9 RM6)

LOST

112, 130, 163-4

May 17, 1967


November 26, 1969 1995

You Know My Name (Look Up The Number) (take 30 RM4) 4:19 You Know My Name (Look Up The Number) 5:43

M S

PM2, MJ? ANT2

112, 116, 175, 194, 196

? ?

You Know My Name (Look Up The Number) 5:37 bootleg reconstruction You Know My Name (Look Up The Number) 6:08 bootleg reconstruction see also 6/7-9/67(backing), 4/30/69 (vocals, etc.), 11/26/69 (editing)

S/M HDG3, GBM S/M UP G

May 25, 1967


June 2, 1967 October 12, 1967 ?

It's All Too Much (take 2) isolated tracks - oops'd? It's All Too Much (take 2 RM1) reduction of take 4 - SI onto take 2 It's All Too Much (take 2 RM1) reduction of take 4 - SI onto take 2 - movie edit

M M M

EXP LOST FILM 112, 116, 128, 130, 162, 164

June 14, 1967


June 25, 1967 June 25, 1967 June 25, 1967 June 26, 1967

All You Need Is Love (take ?) excerpt All You Need Is Love (take 57?) excerpt "Our World" telecast All You Need Is Love (take 58) "Our World" telecast All You Need Is Love (take 58 RM4) SI onto take 58

BD?

M M M M

ANT UNS3 UNS3 PEPL, MMT

116-7, 120-1, 130-1, 163-4

August 22, 1967 August 23, 1967 October 2, 1967

Your Mother Should Know (take 9) NFS & ACE, et al have diff endings/ck UP G Your Mother Should Know (take 52 RM25) reduction take 9 SI onto take 52 M

NFS, ACE, MMD, MP3, 122, 126, 128, 130-1 MMT

September 5, 1967
September 5, 1967 September 5, 1967 September 5, 1967

I Am The Walrus (take 7) off-line I Am The Walrus (take 8) off-line I Am The Walrus (take 9) off-line

BD BD

M M M

MON MON MON

122-3, 126-8, 130-1, 155

September 6, 1967
1995 September 6, 1967 September 6, 1967 1995? September 6, 1967 October 12, 1967 October 12, 1967

I Am The Walrus (take 17) reduction take 16 SI onto take 17 I Am The Walrus (take 17 RM4) acetate I Am The Walrus (take 17 RM4) different acetate The Fool On The Hill (take 1) demo The Fool On The Hill (take 1) demo - acetate Blue Jay Way (take 3 RM6/9 edit) possibly RM1 9/16/67? Blue Jay Way (take 3 RM6/9 edit) acetate Blue Jay Way (take 3 RM6/9 edit) acetate FAKE? Blue Jay Way (take 3 RM6/9 edit) Blue Jay Way (take 3 RM6/9 edit)

S M M M M M M S S S

ANT2 CASUAL, ACE, MMD HDG1 ANT2 ACE, MMD EXP ACE ACEC TAPE EMI 123, 126, 128, 130-1 123, 126-7, 129-31, 155

September 8, 1967
September 8, 1967

Flying (take 8 RM4) reduction take 6 SI onto take 8 "Aerial Tour Instrumental"

UNS3, MMD

123, 127, 130-1

September 16, 1967


1995

Your Mother Should Know (take 27)

ANT2

September 25, 1967


September 25, 1967 September 25, 1967

The Fool On The Hill (rehearsal) "the Rumi Tape" The Fool On The Hill (take 4 RM1) reduction take 3 SI onto take 4

M S

EXP ANT2 123, 126-7, 129-31, 155

September 26, 1967


October 25, 1967

The Fool On The Hill (take 6 RM12)

MMT

September 28, 1967


September 28, 1967 September 28, 1967

Flying (take 8 RM6) SI onto take 8 "Aerial Tour Instrumental" Flying (take 8 RM6) edited

M M

HDG2, UC1 MMT

123, 127, 130-1

September 29, 1967


September 29, 1967 September 29, 1967 September 29, 1967 September 29, 1967

The Tragedy Of King Lear (Act IV Scene VI) I Am The Walrus (take 17/25 RM23 edit RM10/22) US single 4 beat middle I Am The Walrus (take 17/25 RM23 edit RM10/22) UK EP I Am The Walrus (take 17/25 RM23 edit RM10/22) US LP different 4 beat edit

M M M M

MP3 HDG4 MMT MMT 122-3, 126-8, 130-1, 155

October 2, 1967
1982? 1995

Hello Goodbye (take 1) "Hello, Hello" Hello Goodbye (take 16) STEREO/MONO MIXING

UNS3 ANT2

128-31

November 1, 1967 November 1, 1967 November 2, 1967 November 6, 1967 November 6, 1967 November 6, 1967 November 6, 1967 November 7, 1967 November 7, 1967 November 7, 1967 November 7, 1967 November 7, 1967
November 6/17, 1967

All You Need Is Love (take 58 RM11) The Fool On The Hill (take 6 RS5) Hello Goodbye (take 22 RM6) Hello Goodbye (take 22 RS2?) I Am The Walrus (take 17 RS6/7 edit) ? Your Mother Should Know (take 52 RS2?) Magical Mystery Tour (take 9 RS4?) acetate Flying (take 8 RS1) edited Blue Jay Way (take 3 RM27) Blue Jay Way (take 3 RS12) Magical Mystery Tour (take 9 RS6) SI onto RS4 Magical Mystery Tour (take 9 RM10) SI onto RM7 I Am The Walrus (take 17 RS25/7 edit)

M S M S S S S S M M M M S

LOST MMT MMT MMT EXP MMT ACE MMT MMT MMT MMT MMT MMT 123, 126, 128, 130-1 110-1, 127, 130-1

November 28, 1967


November 28, 1967 November 29, 1967

Christmas Time Is Here Again (take 1) off-line Christmas Time Is Here Again 1967 BONUS POSTUMOUS MIXES

M M

XMAS XMAS

131

October 16, 1968 October 29, 1968 October 29, 1968 October 22, 1971 1980 1982 1982 1988

It's All Too Much (take 196 RS1) All Together Now (take 9 RS1) All You Need Is Love (take 58 RS6?) Baby You're A Rich Man (take 2 RS?) I Am The Walrus Hello Goodbye (take 22) Barrett mix Christmas Time Is Here Again (take 1) "Sessions" mix Magical Mystery Tour (take 9 RS?) CHECK ALL 1988 FILM MIXES Christmas Time Is Here Again (take 1) "Anthology" mix "WALRUS" all CDs done . CHECK TAPE

S S S S S S S S S

YSUB YSUB YSUB MMT RARITIES-US TMDM, ARVS SESS MMD, FILM 131

1995

ANT2

131

January 12, 1968


February 8, 1968 February 8, 1968

The Inner Light (take 5 or 6) off-line The Inner Light (take 6 RM4)

M M

AWOA 45-US

132-4, 196

February 3, 1968
?

Lady Madonna (take 2?) Note this comes from the stereo mixing session listed below. Lady Madonna (take 3) left channel of "Anthology" mix Lady Madonna (take 3 or 4?) Lady Madonna (take 5) SI onto take 5 - right channel of "Anthology" mix Lady Madonna (take 5) stereo mixing session Lady Madonna (take 5) stereo mixing session

BD

S? M S M

UNS4

132-4, 146, 153, 155, 170-1, 194

1995 ? 1995 ? ?

ANT2 UNS7 ANT2 UNS4 UNS4

BDs

S S

The above two items ar a mystery. They are obviously from a stereo mixing session but the complete mix sounds nothing like either the finished December 2, 1969 master or John Barrett's mix for the ARVS. They are included in this position because of the ambient studio sound available nowhere else.
1982 1982? February 15, 1968

Lady Madonna (take 5) Barrett mix Lady Madonna (take 5) off-line possibly from ARVS Lady Madonna (take 5 RM10?)

S M M

TMDM, ARVS, HDG3 DIG 45-US

February 4, 1968
Feburary 4, 1968? 1995 Feburary 4, 1968? October 2, 1969 ?

Across The Universe (take 2) off-line with track isolation Across The Universe (take 2) "Anthology" mix Across The Universe (take 8) reduction take 7 SI onto take 8 - "Hums Wild" Across The Universe (take 8 RS2?) "World Wildlife Fund" mix Across The Universe (take 8) "World Wildlife Fund" mono mix have seen a reference to a Brazil mono single.

M S S? S M

MON ANT2 REV, UNS4 PM2 45

133-5, 164, 193, 195-9

This has the bird effects but no female vocals. None of my major references refer to this mono mix but I
?

Across The Universe (take 8) acetate

HDG4, DIG, ACEC

Many scholars feel this is Glun Johns' mix. It's certainly very close. Lewisohn does not mention any stereo mixes except for the "Get Back" album and it is unlikely they would have made a stereo acetate in 1968.
January 5, 1970 April 2, 1970

Across The Universe (take 8 RS3) Glyn Johns' "Get Back" mix Across The Universe (take 9 reduction take 8 RS13) SI onto take 9 Across The Universe (take 8) oops'd WHICH VERSION?

S S M

GB2 LIB MP3

February 11, 1968


February 11, 1968 October 29, 1968

Hey Bulldog (take 10 RM2?) Hey Bulldog (take 10 RS3?) Bonus POSTUMOUS MIXES

M S

LOST YSUB

134, 163-4

December 2, 1969 January 27, 1970

Lady Madonna (take 5 RS1) The Inner Light (take 6 RS1) Hey Bulldog (take 10 RS?) Across The Universe (take 8) WWF mix speed corrected Across The Universe (take 9 RS13?) LIB mix speed corrected

S S S

PM2 PM2 YSONG UP G UP G

THE BEATLES (a.k.a. "THE WHITE ALBUM")


May 30, 1968 June 4, 1968

Revolution 1 (take 20) playback Revolution 1 (take 20) playback jamming jamming Revolution 1 (rehearsal and jamming) Revolution 1 (rehearsal and jamming) Revolution 1 (rehearsal and jamming) Revolution 1 (take 20) SI onto take 20 jamming with John & Yoko dialog

M M M M M M M M M

KINF1 KINF2, REV, WHT KINF3 KINF4 KINF5 KINF6, REV, WHT KINF7 KINF8, REV, WHT KINF9

135-6, 139, 141-3, 147, 152-3, 160 exp, rev, wht 23.33

June 5, 1968
1995

Don't Pass Me By (take 3/5) "Anthology" composite mix "Ringo's Tune (Untitled)", "This is Some Friendly" Don't Pass Me By (take 3) excerpt of true end Don't Pass Me By (take 7 edit piece 4 RM?) extended - "Peter Sellers Tape" The bass thump in the intro shows this is NOT RM1 before editing.

S M M

WHT, ANT3

137, 142, 144, 161, 163

June 5, 1968 ?

WHT, ANT WHT, PETE

June 6, 1968
June 6, 1968

Kenny Everett Interview Includes: Cottonfields, Goodbye To Kenny Everett, Goodbye Kenny, Tiny Tim For President, Strawberry Fields Forever

AKB, ACEC

June 11, 1968


June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968 June 11, 1968

Blackbird (rehearsal) excerpt Blackbird/Congradulations (rehearsal) Blackbird (rehearsal) excerpts, breakdowns and dialogue Helter Skelter/"Gone Tomorrow, Here Today" (acoustic impromptu) with dialogue Blackbird (rehearsal) excerpts, breakdowns and dialogue Mother Nature's Son (impromptu) Blackbird (rehearsal) excerpts, breakdowns and dialogue harmonium improv Blackbird (rehearsal) excerpts, breakdowns and dialogue Blackbird (take 4) Blackbird (take 32 RM6) no bird sounds

M M M M M M M M M S M

WHT WHT WHT WHT WHT WHT WHT WHT WHT WHT, ANT3 WHT, PETE

137, 147, 151, 161-3

Some Beatles scholars speculate that the rehearsals were taped June 13. However, based on the dialogue

with George Martin, the arrangement is being worked out. Why would they trouble if the master had already been finished? Also, it would seem possible that some of these excerpts might be some of the 32 takes.
June 20-25, 1968
June 21, 1968 June 25, 1968

Revolution 9 (RS1?) mono acetate Revolution 9 (RS2)

M S

WHT, REV, ACEC WHTLP

92, 135, 137-9, 148, 150-1, 154-5, 162-3

June 26, 1968


July 12, 1968

Everybody's Got Something To Hide Except For Me And My Monkey (take 12 RM5) untrimmed acetate Everybody's Got Something To Hide Except For Me And My Monkey (take 12 RM5)

M M

HDG3

139, 144, 161-3

July 12, 1968

WHT, PETE

June 28, 1968


1995 1995

Good Night (rehearsal) excerpt Good Night (rehearsal or take?) spoken intro
BD

M M

WHT, ANT3 WHT, ANT

139-40, 144, 161, 163

July 3, 1968
1995 ? ?

Ob-La-Di, Ob-La-Da excerpt Ob-La-Di, Ob-La-Da (take 5) Ob-La-Di, Ob-La-Da (take 5)

BD?

S S M

WHT, ANT WHT, ASES, UNS7 UNS6, UC1

140-3, 151, 155, 161, 163 muddy

July 8, 1968
July 8, 1968 July 15, 1968

Ob-La-Di, Ob-La-Da (take 23) SI onto take 13 vocal track - oops'd? Ob-La-Di, Ob-La-Da (take 23 RM21?)

M M

TAPE WHT, PETE

140-3, 151, 155, 161, 163

July 10, 1968


July 10, 1968? July 10, 1968? July 15, 1968

Revolution (take 15) Revolution (take 15) might be same as above but from a different/trimmed source. Revolution (take 16 RM21)

M M M

REV UNS7 CASUAL

135-6, 139, 141-3, 147, 152-3, 160

July 16, 1968


1995 October 15, 1968

Cry Baby Cry (take 1) Cry Baby Cry (take 12 RM1) with "Can You Take Me Back"

S S

ANT3 WHTLP

July 18, 1968


1995

Helter Skelter (take 2)

ANT3

July 19, 1968


July 19, 1968? July 19, 1968? July 19, 1968? July 19, 1968?

Sexy Sadie (take ?) off-line excerpt "Brian Epstein Blues" (impromptu) Sexy Sadie (rehearsal?) off-line excerpt Sexy Sadie (take ?) off-line playback with chat This includes the "Beatles Chat" item referenced by Lewisohn. Lady Madonna (impromptu) off-line Sexy Sadie (take 6)

M M M M M S

MON MON MON MON

144-5, 148, 150-1, 162-3

July 19, 1968? 1995

MON ANT3

July 22, 1968


1995? July 23, 1968

Good Night ("A Beginning") unused orchestral intro Good Night (take 34 RM6) "Peter Sellers Tape".

S M

WHT, ANT3 WHT, PETE

139-40, 144, 161, 163

July 24, 1968


1995

Sexy Sadie (take 28)

BD

ANT

July 25, 1968 ? ? 1995

While My Guitar Gently Weeps (take 1) vintage mix? Has Lennon voice at end While My Guitar Gently Weeps (brief dialoge) Hey Jude (take 1?) Hey Jude (take 2?)

UNS7 WHT WHT, ANT

While My Guitar Gently Weeps (take 1) with reverb might be mono copy of version next version M

July 29, 1968

WHT WHT, ANT

July 30, 1968

Hey Jude (take 7) St. Louis Blues Hey Jude (take 8?) the previous three are from the film Hey Jude (take 9) Hey Jude (take 9) Barrett alternate mix of end chorus only w/ studio chat Hey Jude (take 10) Hey Jude (take ?) St. Louis Blues "Las Vegas Jude"

WHT, TAPE WHT, TAPE WHT, TAPE WHT, UNS6 TMDM WHT, UNS4 WHT, UNS6 WHT, UNS4 WHT, UNS4

I have chosen the running order as listed on the "White Sessions" disc. I, however do not neccessarily agree with that order. The Down In Havana (same label) , as well as Doug Sulpy lists them in different order.
July 31, 1968
August 8, 1968

Hey Jude (take 1 RM4)

45

August 8, 1968 August 12, 1968 August 12, 1968 ? ?

Not Guilty (take 102 RM1) the original mix "Peter Sellers Tape" Not Guilty (take 102 RM1?) slightly alternate acetate mix of above mix Not Guilty (take 102) alternate mix - a vintage mix? Not Guilty (take 102) "Sessions", "Anthology" mix ? MONO!

4:12 ?
4:28 4:24

WHT, PETE NIR

146-8, 151, 162

S M

WHT, UNS7, MJ13 MJ12

3:15!

August 9, 1968
1995 1995 August 20, 1968

Mother Nature's Son (take ?) fragment Mother Nature's Son (take 2) Mother Nature's Son (take 26 RM8) reduction of take 24 "Peter Sellers Tape"

M S M

WHT, ANT WHT, ANT3 WHT, PETE

147, 150-1, 161, 163

August 13, 1968 August 21, 1968 August 21, 1968 August 20, 1968 August 20, 1968

Sexy Sadie (take 117? RM?) "Peter Sellers Tape" Sexy Sadie (take 117 RM5) Yer Blues (takes 16/17 edit RM3 and edit piece take 1) untrimmed acetate Yer Blues (takes 16/17 edit RM3 and edit piece take 1) "Peter Sellers Tape"

M M M M

PETE WHTLP HDG3 WHT, PETE

144-5, 148, 150-1, 162-3

148-50, 162-3

August 14, 1968 1995 August 14, 1968? October 14, 1968

What's The New Mary Jane (take 2) excerpt What's The New Mary Jane (take 4 RM1?) stereo 3:15 What's The New Mary Jane (take 4 RS1 or 2) What's The New Mary Jane (take 4)

M S S

WHT, ANT EMI, MJ2/11 TMDM SFF, JLC

148, 158, 162, 192, 194

August 15, 1968


August 15, 1968 August 15, 1968 August 15, 1968

Rocky Raccoon (take 8) Rocky Raccoon (take 9?) excerpt true end Rocky Raccoon (take 10 RM1) reduction take 9 SI onto take 10 - untrimmed "Peter Sellers Tape" Rocky Raccoon (take 10 RM1) reduction take 9 SI onto take 10

S M M M

WHT, ANT3 WHT, ANT WHT, PETE

149, 151, 161-3

August 15, 1968

WHTLP

August 20, 1968


August 20, 1968 August 20, 1968

Wild Honey Pie (take 1 RM6) untrimmed Yer Blues (takes 16/17 edit RM3 and edit piece take 1) same as PETE?

M M

WHT, PETE WHTLP

150-1, 161, 163 148-50, 162-3

August 22, 1968


August 23, 1968 August 23, 1968 August 23, 1968

Back In The USSR (take 6 RM1) acetate Back In The USSR (take 6 RM1) "Peter Sellers Tape" Back In The USSR (take 6 RM1) with crossfade Peter Sellers Tape ("tape copying" dates)

M M M

WHT, HDG3 PETE WHTLP

151, 161-3

August 23, 1968

Back In The U.S.S.R. RM1) Rocky Raccoon (RM1) Wild Honey Pie (RM6) Mother Nature's Son (RM8) Sexy Sadie (RM5)

Don't Pass Me By (RM?) Yer Blues Good Night Me And My Monkey Ob-La-Di, Ob-La-Da Blackbird Not Guilty

August 15, 1968 July 23, 1968? July 23, 1968? July 15, 1968? July 11, 1968? August 12, 1968

August 26, 1968


August 26, 1968

Revolution 9 (RM2 of RS2)

WHTLP

August 28, 1968


August 28, 1968 August 29, 1968 October 5, 1968

Dear Prudence (take ?) vocal track excerpt Dear Prudence (take 1) SI onto take 1 Dear Prudence (take 1 RM1) EXP ver 2?

M M M

WHT WHT WHT,.HDG3

152-3, 159-63

September 4, 1968 September 4, 1968 September 4, 1968 September 4, 1968 September 4, 1968 September 4, 1968

Hey Jude (take 1 remake) with live vocal from telecast Hey Jude (take 1 remake) with live vocal from telecast Hey Jude (take 1 remake) with live vocal from telecast Revolution (take 16) with live vocal from telecast Revolution (take 16) with live vocal from telecast Revolution (take 16) with live vocal from telecast first 8- track recording While My Guitar Gently Weeps (take 25 RM11)

M M
HDG1 is prob from blue 45

September 5, 1968
August 14, 1968

WHTLP

145, 149, 153-4, 159-60, 162-3, 171

September 9, 1968
September 17, 1968 September 17, 1968

Helter Skelter (take 21 RM1) acetate Helter Skelter (take 21 RM1)

M M

WHT, HDG3 WHTLP

142-3, 154, 160-63

September 11, 1968


September 26, 1968

Glass Onion (take 33 RM2)

ANT3

September 16, 1968

I Will (take 1) I Will (take ?) fragment untitled jamming DOES THIS GO HERE?!?!?! "Can You Take Me Back?" (impromptu?) (take 19) 1. unknown mix 2. Barrett mix 3. Composite mix Step Inside Love (impromptu) (take 34) 1. unknown mix 2. Barrett mix Los Paranoias (impromptu) (take 35) 1. unknown complete mix 1. Barrett complete mix "Down In Havana" (take 36?) "The Way You Look Tonight"/I Will (take 36?) Barrett mix
September 26, 1968 BD

S M

WHT, ANT3 WHT, ANT HVNA

155-6, 158, 162-3

S S S S S S S S S M

HVNA TMDM

HVNA TMDM

HVNA TMDM HVNA TMDM WHTLP

I Will (take 68 RM2) tape copy of take 65

September 18, 1968


September 18, 1968 September 18, 1968 September 18, 1968

Birthday (take 21) vocal track - oops'd Birthday (take 22 RM1) untrimmed acetate Birthday (take 22 RM1)

M M M

NFS WHT, HDG3 WHTLP

September 19, 1968


September 19, 1968 October 11, 2028

Piggies (take ?) fragment Piggies (take 12 RM4)

M M

WHT, ANT WHTLP

September 24, 1968


September 24, 1968? September 24, 1968?

Happiness Is A Warm Gun (takes 53/65) isolated SI onto take 65 unused overdubs Happiness Is A Warm Gun (take 65) excerpt of unused second vocal

S? M

WHT, MON, AWOA, EX 157-8, 162-3 EXP

September 26, 1968

Happiness Is A Warm Gun (take 65 RM12) Happiness Is A Warm Gun (take 65 RS4) with SI onto take 65 unused overdub This is not an authentic mix.

M S

WHTLP HDG3, EXP, TAPE

October 1, 1968
October 5, 1968 October 5, 1968

Honey Pie (take 1 RM1) Honey Pie (take 1 RS1)

M S

WHTLP WHTLP

October 3, 1968
October 14, 1968

Savoy Truffle (take 1 RM6)

WHTLP

October 4, 1968
October 5, 1968 October 5, 1968

Martha My Dear (take 1 RM1) Martha My Dear (take 1 RS1)

M S

WHTLP WHTLP

October 7, 1968
October 10, 1968

Long Long Long (take 67 RS4) "It's Been A Long Long Long Time"

WHTLP

October 8, 1968
1995 October 8, 1968 October 15? 1968 October 15? 1968 October 15? 1968 October 15? 1968 October 15? 1968 October 15? 1968 October 15? 1968 October 15? 1968 1995 1995 ? ? ?

I'm So Tired (takes 3,6,9 edit) "Anthology" mix I'm So Tired (take ?) unused overdub tracks 7 and 8 I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) mixing session tracks 1-4 (& 6?) I'm So Tired (take 14) acetate? I'm So Tired (take 14) acetate? I'm So Tired (take 14) excerpt of track 5 true end I'm So Tired (take 14) excerpt of track 5 true end I'm So Tired (take 14) with unused overdub tracks 7 and 8 I'm So Tired (take 14 RM3) with unused overdub tracks 7 and 8 I'm So Tired (take 14 RS4) with unused overdub tracks 7 and 8 The above are not authentic mixes. The Continuing Story Of Bungalow Bill (take 3 RS2) The Continuing Story Of Bungalow Bill (take 3 RM1)
BD BD BD

S M M M M M M M M M M M M M S S M

ANT3 WHT, MON, AWOA, EXP MON MON MON MON MON, WHT MON HDG HDG HDG ARVS EXP EXP HDG3, TAPE 160, 162-3 < Sulpy claims might be reversed might be reversed

October 9, 1968 October 9, 1968

WHTLP WHTLP

October 9, 1968
1995 1995 October 16, 1968

Why Don't We Do It In The Road? (take 4) Why Don't We Do It In The Road? (take 5 or 6?) fragment Why Don't We Do It In The Road? (take 6 RM1)

M M M

WHT, ANT3 WHT, ANT WHTLP

October 10, 1968


October 10, 1968 October 10, 1968 October 10, 1968

Glass Onion (take 33 RS2) Rocky Raccoon (take 10 RS1) Glass Onion (take 33 RM11)

S S M

WHTLP WHTLP WHTLP

October 11, 1968


October 11, 1968 October 11, 1968 October 11, 2028 October 11, 1968 October 11, 1968

FINAL STEREO/MONO MIXING Don't Pass Me By (take 7 edit piece 4 RM1) Good Night (take 34 RM2) Piggies (take 12 RS3) Don't Pass Me By (take 7 edit piece 4 RS1) Good Night (take 34 RS1) FINAL STEREO/MONO MIXING Everybody's Got Something To Hide Except For Me And My Monkey (take 12 RS1) Helter Skelter (take 21 RM8) Mother Nature's Son (take 26 RS2) Ob-La-Di, Ob-La-Da (take 23 RS4?) Everybody's Got Something To Hide Except For Me And My Monkey (take 12 RM1) Mother Nature's Son (take 26 RM2) Ob-La-Di, Ob-La-Da (take 23 RM10) S S S S M M M
WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP

M M S S S

WHTLP WHTLP WHTLP WHTLP WHTLP

October 12, 1968


October 12, 1968 October 12, 1968 October 12, 1968 October 12, 1968 October 12, 1968 October 12, 1968 October 12, 1968

October 13, 1968


October 13, 1968 October 13, 1968

Julia (take 2) Julia (take ?) second vocal overdub fragment FINAL STEREO/MONO MIXING Julia (take 3 RS1) Dear Prudence (take 1 RS1) with crossfade Wild Honey Pie (take 1 RS2) Back In The USSR (take 6 RS2) with crossfade Blackbird (take 32 RS1) Julia (take 3 RM1) Dear Prudence (take 1 RM5) with crossfade Blackbird (take 32 RM10) FINAL STEREO/MONO MIXING

S M S S S S S M M M

WHT, ANT3 WHT, ANT

October 13, 1968 October 13, 1968 October 13, 1968 October 13, 1968 October 13, 1968 October 13, 1968 October 13, 1968 October 13, 1968

WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP

October 14, 1968 October 14, 1968 October 14, 1968 October 14, 1968 October 14, 1968 October 14, 1968 October 14, 1968 October 14, 1968

I Will (take 68 RS1) tape copy of take 65 Birthday (take 22 RS1) Long Long Long (take 67 RM3) Savoy Truffle (take 1 RS2) While My Guitar Gently Weeps (take 25 RS12) Yer Blues (takes 16/17 edit RS5) Sexy Sadie (take 117 RS3) What's The New Mary Jane (take 4 RS1 or 2) Happiness Is A Warm Gun (take 65 RS4) I'm So Tired (take 14 RS4) Cry Baby Cry (take 12 RS3) with "Can You Take Me Back" I'm So Tired (take 14 RM3) Why Don't We Do It In The Road? (take 6 RS1) The Beatles 1968 Christmas Record

S S M S S S S S S S S M S

WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP WHTLP ASES

October 15, 1968 October 15, 1968 October 15, 1968 October 15, 1968

WHTLP WHTLP WHTLP WHTLP

October 16, 1968

WHTLP

November 1, 1968

XMAS

November-68

No Space Or Time (Electronic Sound) How Do You Do Blackbird (instrumental) Heather The Unicorn Mr. Wind The Walrus And The Carpenter Land Of Gisch Lelena Paul with Donovan Leitch and Mary Hopkin at Trident Studios, London during Mary Hopkin's "Postcard" sessions.

ORIG

Nov. 1968

NW8

December 5, 1969 December 5, 1969 December 5, 1969?

Hey Jude (take 1 RS21) Revolution (take 16 RS1) Revolution (take 16 RS?) THE ROLLING STONES' ROCK AND ROLL CIRCUS (The Dirty Mac Band) Yer Blues Her Blues (official released mixes) Clapton is mixed way too low!!! Yer Blues Her Blues (original? alternate mono acetate mixes) In my opinion the best mix!! BBJ is an old early 70s bootleg. Yer Blues Her Blues (original? alternate stereo mixes) To me both the original mono and stereo mixes are far superior to the officially released mixes. Eric Clapton is not mixed out in some spots as official release. Yer Blues (rehearsal) Dirty Mac Jam The Dirty Mac is John & Yoko, Keith Richards, Eric Clapton, Mitch Mitchel, and Ivry Gitlis.

S S S

PM2 BLUE PM2

December 11, 1968

S S M M S S

RnRC RnRC

BBJ, RT4 BBJ

YIN, YER YIN, YER

IFO YER

Dec.? 1968

Goodbye (Dick James demo acetate) McCartney solo demo for Mary Hopkin. Probably at E.M.I. BONUS POSTUMOUS MIXES

ACE

1982 1995 1982 1982 1983 1982 1983 1995? 1995

Ob-La-Di, Ob-La-Da (take 5) "Sessions" mix Ob-La-Di, Ob-La-Da (take 5) "Anthology" mix While My Guitar Gently Weeps (take 1) with reverb While My Guitar Gently Weeps (take 1) off-line from Abbey Road Show While My Guitar Gently Weeps (take 1) "Sessions" mix (sounds different than ANT3) Not Guilty (take 102) Barrett mix (very similar to "Peter Sellers Tape") Not Guilty (take 102) "Sessions", "Anthology" mix While My Guitar Gently Weeps (take 1) "Anthology" mix Step Inside Love (impromptu jam) "I Will" (take 35) "Anthology" mix
4:22 3:20

S S S M S S S S S

SESS WHT, ANT3 ASES, ARVS, HDG3 NIR WHT, SESS ASES

S of UNS6

WHT, SESS, ANT3, UNS6, MJ14 ANT3 ANT3

1995 1983

Los Paranoias (impromptu jam) "Anthology Mix" What's The New Mary Jane (take 4) "Sessions" and "Anthology" mix

S S

ANT3 SESS, ANT3, UNS6, MJ5/6

GET BACK SESSIONS (Apple Multi-track tapes not film Nagra tapes) I am currently working on my Nagra reels list - I have most A-rolls and some B-rolls
March 27, 1970

"Queen says 'no'" (from Twickenham)

LIB

January 22, 1969


1995 March 10, 1969 March 10, 1969 March 10, 1969 March 10, 1969 March 10, 1969 March 27, 1970 1995

Dig A Pony Rocker + conversation Save The Last Dance Don't Let Me Down Don't Let Me Down dialog ("Dig into Fever") "I 'Dig A Pigmy'" She Came In Through The Bathroom Window
BD

S S S S S S S S

ANT3 GB, GB2 GB, GB2 GB, GB2, CELL, WBCN GB, GB2, CELL, WBCN GB, GB2 LIB ANT3

January 23, 1969


March 10, 1969 March 10, 1969 March 10, 1969

Get Back Get Back (take 10?) I've Got A Feeling (intro fragment)

BD

S S S

WBCN, CELL WBCN, CELL WBCN

January 24, 1969


1995 March 10, 1969 March 10, 1969 March 13, 1969 March 27, 1970 March 10, 1969 March 10, 1969

Two Of Us Teddy Boy (full length) Two Of Us Maggie Mae "That was 'Can You Dig It?' by Georgie Wood" Dig A Pony I've Got A Feeling Sulpy dates these two the 23rd. I'm going with Lewisohn's date.

S S S S S S S

ANT3 GB2, WBCN, CELL WBCN, CELL GB, GB2 LIB GB, GB2, WBCN ANT3, WBCN, GB, GB2

January 25, 1969


1995 March 10, 1969 1995

For You Blue For You Blue (take 6) Let It Be

S S S

ANT3 WBCN, GB, GB2, CELL ANT3

January 26, 1969

Dig It
March 13, 1969 1995

M S S S S

CELL TMDM, CELL ANT3 TMDM, CELL TMDM, ANT3

Shake, Rattle And Roll Rip It Up/Shake Rattle And Roll Miss Ann-Kansas City-Lawdy Miss Clawdy Blue Suede Shoes

1995

March 13, 1969

You Really Got A Hold On Me EDIT THESE Let It Be The Long And Winding Road

M S S

CELL

March 10, 1969 March 10, 1969

WBCN, CELL ANT3, GB, GB2, CELL, WBCN

January 27, 1969


March 27, 1970 March 10, 1969 1995 March 10, 1969 March 13, 1969

"Sweet Loretta Fart" Get Back Oh! Darling The Walk I've Got A Feeling

S S S S M

LIB WBCN ANT3 WBCN, CELL CELL-1

January 28, 1969


April 7, 1969 April 7, 1969 1995

Get Back (Reprise) (RM5) extended coda Don't Let Me Down (RM1) Teddy Boy (excerpt)

M M S

45, LIB, GB, GB2 45 ANT3

January 29, 1969

Not Fade Away


1982 1983

S S S

TMDM, FILE ASES SESS, ANT3

Maliman, Bring Me No More Blues (Barrett mix) Maliman, Bring Me No More Blues ("Sessions" and "Anthology" mix) EDIT THESE

January 30, 1969

E90522
March 23, 1970 February 5, 1969 March 23, 1970 February 5, 1969? March 27, 1970

I've Got A Feeling (take 1) One After 909 Dig A Pony (RS2) Get Back (take 2) "I'd like to say 'thank you'" E90524 God Save The Queen (impromptu) "monitor mix" Camera B Roll 1149 E90523 ST I've Got A Feeling (take 2) "monitor mix" Camera B Roll 1149 Don't Let Me Down (take 2) "monitor mix" Camera B Roll 1149 Get Back (take 2) "monitor mix" Camera B Roll 1149 dialog

S S S S S M M M M M

LIB GB, GB2 LIB ANT3 LIB

January 30, 1969 January 30, 1969 January 30, 1969 January 30, 1969 January 30, 1969

ROOF ROOF ROOF ROOF ROOF

January 31, 1969


1995 1995 May 28, 1969? 1995 March 25, 1970

The Long And Winding Road (take 19) this might be from a Nagra reel Let It Be (take 26/27b? edit) this might be from a Nagra reel Let It Be (take 27) with April 30, 1969 lead Let It Be (dialog only) Two Of Us (take 12 RS2) GLYN JOHNS-GEORGE MARTIN MIXES

S S S S S

ANT ANT GB, GB2 ANT3 LIB

March 10, 1969 March 10, 1969 March 13, 1969

Teddy Boy (edited) Two Of Us (edited) Dig It

S S S

GB GB, GB2 GB, GB2

April 7, 1969 April 7, 1969 April 7, 1969 April 7, 1969

Get Back (RM5) Get Back (RS3/5 edit called RS3) Get Back (coda) Don't Let Me Down (RS1) Stereo Mixing inserts Let It Be (take 30 RS1?) with April 30, 1969 lead Let It Be (take 30 RS2) with April 30, 1969 lead Let It Be (take 30 RS2?) acetate with April 30, 1969 lead PHIL SPECTOR MIXES For You Blue (take 6 RS1) with January 8?, 1970 vocal Let It Be (take 30 RS1) with January 4, 1970 lead PHIL SPECTOR MIXES

M S S S S S S

45 45, GB, GB2 45, GB, GB2 PM2

5/7, 9/1969
January 4, 1970 January 4, 1970

UNS6 PM2 ACEC

January 4, 1970
March 25, 1970 March 26, 1970

S S

LIB LIB

March 23, 1970 March 25, 1970 March 26, 1970 March 26, 1970 March 27, 1970 March 27, 1970 April 2, 1970 April 2, 1970

One After 909 (RS3) Teddy Boy (RS2) Maggie Mae (RS2) Get Back (RS5) Dig It (RS1) dialogue and miscellaneous pieces (RS1-8) The Long And Winding Road (take 18 reduction RS10/13 edit) The Long And Winding Road (take 18 reduction RS10/13 edit) acetate I Me Mine Across The Universe Let It Be (with both leads) this is likely fake

S S S S S S S S S S S

LIB GB2 LIB LIB GB, GB2 LIB LIB ACEC

January 5, 1970 January 5, 1970

ANT3, ACE GB2

GB2, HDG3

ABBEY ROAD SESSIONS


February 22, 1969
August 20, 1969

I Want You (She's So Heavy) (take 1 RS8/unnumbered RS10 edit) I Want You (She's So Heavy) (take 35?) This is an acetate mix of the McCartney vocal take. Although there are some doubts about the authenticity of this recording, I agree with Doug Sulpy (among others) that this is real.

S M

ABBEY RGHN 170, 173-4, 186-7, 191-2,

February 25, 1969


1995? 1995? 1995? February 25, 1969?

Something (demo take 1) Old Brown Shoe (demo take 2?) All Things Must Pass (demo take 2?) Something (demo take 1 RM1?) acetate

ANT3 MANY, ANT3 MANY, ANT3 ACE, MANY

S S M

COMPARE BARETT MIXES April 14, 1969


April 14, 1969

Ballad Of John and Yoko (take 10 RS5) 45 has full end

PM2

172-3, 177, 181

April 16, 1969


April 16, 1969

Old Brown Shoe (take 4 RS23)

PM2

171, 173, 177

April 20, 1969


July 17,18,22,23?, 1969

Oh! Darling (SI onto take 26) vocal rehearsal isolated track Oh! Darling (take 26) SI onto take 26 - alternate vocal

M S?

UC1, DIG NW8

168, 174-5, 180-1, 186-7, 191-2

July ?, 1969

April 22, 1969


May 1, 1969

John And Yoko (take ? RS7)

WED

174-5

April 26, 1969


1995 April 29, 1969

Octopus's Garden (take 2/8 edit) "Anthology" mix Octopus's Garden (take 32) SI onto take 32 - early alternate mix

S M

ANT3 NW8

174, 180-1, 191-2, 194-5

May 6 & July 1, 1969


July 15? 1969

You Never Give Me Your Money (take 30 RS6?) with extended jam

S?

NW8

176-7, 180, 183-5, 187, 191-2

July 2, 1969
July 30, 1969

Her Majesty (take 3 RS1) with final cord

NW8

178, 181, 183, 192

July 2,3,1969
July 3, 1969?

Golden Slumbers/Carry That Weight (take 13?) (take 13/15 edit as take 13, tape reduction into take 17, SI onto take 17)

S?

NW8, UNS5

178, 181, 183-4, 190, 192

July 7, 1969
August 19, 1969

Here Comes The Sun (take 13 reduction into take 15 RS1) SI onto take 15

ABBEY

178-80, 182, 184-5, 187, 190, 192

July 9, 1969
1995 July 10, 1969

Maxwell's Silver Hammer (take 5) Maxwell's Silver Hammer (take 21 RS13)

S S

ANT3 NW8

179-81, 185, 187, 191-2

July 11, 1969


July 11, 1969

Something (take 37) with extended jam Octopus's Garden (take 32 RS14)

S S

NW8

175-6, 178, 180, 184, 190, 192-3

July 18, 1969

ABBY

July 21, 1969


1995 August 7, 1969

Come Together (take 1) Come Together (take 9 RS1)

S S

ANT3 ABBEY

7/23-8/18/69
1995 ?

The End (take 7) "Anthology" remix The End (take ?) instrumental - might be a fake - cool though

ANT3 ALTA

181, 183, 185-6, 190-2

July 24, 1969

1982 1983 1995

Come And Get It (demo) Barrett alternate mix Come And Get It (demo) "Sessions" & "Anthology" mix Ain't She Sweet (impromptu jam)

S S S

ASES ANT3 ANT3

place inferior mix at end

July 24, 1969 August 14, 1969

Sun King-Mean Mr. Mustard (take 35 RS22)

ABBEY

182-3, 185, 187, 191-2

July 25, 1969 August 14, 1969

Polythene Pam-She Came In Through The Bathroom Window (take 40 RS32) LONG ONE-HUGE MEDLEY 7/1,15,30 You Never GIve Me Your Money (take 40 RS1) 7/24,25,29 Sun King/Mean Mr. Mustard (take 35 RS1) 7/2 Her Majesty (take 3 RS1) 7/25,28,30 Polythene Pam/She Came In Through The Bathroom Window (take 40 RS1) 7/3,4 Golden Slumbers/Carry That Weight (take 17 RS1) 7/23 The End (take 7 RS1) 7/2 Her Majesty (take 3 RS1) cut

S S

ABBEY

192, 192-3, 187, 192

July 30, 1969


July 30, 1969 July 30, 1969 July 30, 1969 July 30, 1969 July 30, 1969 July 30, 1969 July 30, 1969

NW8, UNS5

ABBEY

August 4, 1969
1995 1992 8/12/1969

Because (take 16) alternate mix full acapella Because (take 16) Barrett alternate mix partial isolated vocals Because (take 16 RS2) Oh! Darling (take 26 RS9) You Never Give Me Your Money (take 30 RS23) sound effects (take 5) 8/14 crossfade RS11 into "Sun King"

S S S S S S

ANT3 NW8, TMDM ABBEY 184-5, 192

August 12, 1969

ABBY

August 13, 1969


August 5, 1969

ABBEY ABBEY

August 14, 1969


August 14, 1969 August 14, 1969

Maxwell's Silver Hammer (take 21 reduction into 27 RS34/38 edit) SI onto take 27 untitled jam with Kenny Everett voice-over

S M

ABBEY AKB, ACEC

Allen Weiner (ULT pg. 472) calls this "Mean Mr Mustard". I don't think it sounds anything like it.
August 15, 1969
August 18, 1969 August 19, 1969

Golden Slumbers/Carry That Weight (take 17) SI onto take 17 Something (take 39 RS10) The End (take 7 RS4) Rock Peace

S S S S

ABBEY ABBEY

August 21, 1969

ABBEY

Aug. 1969

HODG

ULT describes Lennon recording an instrumental piece and the bootleg "Road Runner" claims this to be it.

Sept. 1969

Cold Turkey ( 3 studio/home? demos)

LT6, LLT

It's possible these are home recordings. But the quality is good enough to be studio. Thus inclusion here.

September 11, 1969?

What's The New Mary Jane (take 4 RS1-3?) It's possible that this is RS4 from November 26, 1969

WHT, UNS4, MJ7/8

September 28, 1969


September 29, 1969

Cold Turkey (take ?) acetate with alternate vocal Cold Turkey (take ?)

M S

AFTR

192

October 3, 1969

Don't Worry Kyoko (Mummy's Only Looking For Her Hand In the Snow)

Oct 27, 1969 - Mar 13, 1970

195

Ringo's "Sentimental Journey"


November 6, 1969

Stormy Weather ("Sentimental Journey" outtake) What's The New Mary Jane (take 4 RS4?) acetate What's The New Mary Jane (take 4 RS5) acetate What's The New Mary Jane (take 4 RS6?) acetate - severe edit

S S S S

MANY

November 26, 1969

ACEC, MJ9, SFF? ACEC, MJ10 ACEC

December 4, 1969

Item 1 (a.k.a "Laugh") acetate Happy Christmas 1969 Octopus's Garden (take 32 remixed as take 10) Octopus's Garden (take 32 remixed as take 10) isolated vocal M M

AFTR

fall 1969

XMAS

December 2 & 8, 1969

MANY More Masters

This is a special remix for a George Martin television special, "With A Little Help From My Friends" done to beat the Musicians' Union miming ban. The Beatles' lead guitar, bass, and piano have been removed and readded by studio musicians.
December 1, 1969
February 21, 1970 February 22, 1970 February 22, 1970 February 21, 1970 February 21, 1970 Feb-70 Feb-70 Feb-70 February 21, 1970

The Lovely Linda That Would Be Something Valentine Day Momma Miss America Glasses Oo You Teddy Boy Junk Singalong Junk

McC McC McC McC McC McC McC McC McC

January 3, 1970
January 5, 1970

I Me Mine (take 16) original length master I Me Mine (take 16) Glyn Johns' alternate mix for "Get Back" LP version 2 I Me Mine (take 16)

ACE, ANT3 GB2 ANT3

January 4, 1970

Let It Be (take 38) overdub session This is from the last official Beatles recording session.

UNS6

January 27, 1970

Instant Karma (take 10?) It Don't Come Easy (George vocal) It Don't Come Easy ( 2 alternate takes) It Don't Come Easy

COLL

Feb. 1970 2/18-19/70

AA2, COME PASS

45

Feb-70

Kreen Akrore

February 22, 1970


February 24, 1970

Every Night I Me Mine (take 18 reduction/edit take 16 RS11/12 edit) SI onto take 18 Across The Universe (take 9 reduction take 8 RS13) SI onto take 9 Nashville Freakout (a.k.a. Nashville Jam) The Wishing Book "Beaucoups Of Blues" outtakes

S S S S S

McC

April 2, 1970 April 2, 1970

LIB LIB

June 1, 1970

MANY MANY

4/1-15/73

I'm The Greatest (rehearsal) John vocals I'm The Greatest (alternate mix) From the "RINGO" LP sessions. This is included here because it features three of The Beatles.

SPR, ANTJ RJPG

"ROCK & ROLL MUSIC" Medley This is kinda lame but I list it anyway because it is an actual U.K. promo. Beatles Movie Medley (non-LP special mix) Free As A Bird (video mix) Real Love (early mix) Real Love (video mix)

HDG4

45

Feb.- Mar.' 94

FAN, COME

Feb. 1995

COME COME

June 23, 1995

Blue Moon Of Kentucky (jam)

PUT, RR

June 1, 1969

Give Peace A Chance (rehearsal 1) Give Peace A Chance (rehearsal 2)

DH ANT

Montreal Bed-In. I realize that this is not a 'studio' recording but it was recorded on 4-track for official release.

The Beatles at Twickenham Studios and Saville Row


This chart documents the recording activities during the January 1969 sessions. A Rolls Yellow cells: Day By Day series as released by Yellow Dog Record. Purple cells: Day By Day series as continued by Purple Dog Records.

B Rolls Most of these rolls are available on Get Back Camera B Rolls (Unicorn), Kum Back (?) and
The Lost Day By Day Rolls Vol 1 & 2 (BATZ), bootlegs.

White cells: These B rolls are missing. Grayed Out cells: These "B Rolls" have been skipped.

Date A Rolls Time Avaliable on


1A 2A 3A 4A 2-Jan 5A 6A 7A 8A 9A 10A 11A 12A 13A 14A 15A 16A 17A 18A 19A 20A 21A 22A 23A 24A 25A 26A 27A 28A 15:49 16:08 16:09 16:22 16:10 16:19 16:17 16:26 16:24 15:36 15:52 16:19 16:25 15:34 16:12 16:12 16:19 15:08 14:47 16:22 16:22 16:20 16:09 16:15 16:34 16:05 16:21 9:08 Day By Day 4 Day By Day 2 Day By Day 1

B Rolls Time Avaliable on

50B

16:06

BEGIN Kum Back 51B 52B 53B Day By Day 3 54B 15:54 16:00 16:21 15:34 Kum Back 1/2 Kum Back 1/1

3-Jan

55B 56B 57B 58B 59B 60B

16:09 16:04 16:19

29A 30A 31A 32A 33A 34A 35A 36A 37A 38A 6-Jan 39A 40A 41A 42A 43A 44A 45A 46A 47A 48A 49A 50A 51A 52A 53A 54A 55A 56A 57A 7-Jan 58A 59A 60A 61A 62A 63A 64A 65A 66A 67A 68A 69A 8-Jan 70A

14:47 15:58 16:21 16:19 16:18 16:18 16:07 16:18 16:13 16:18 16:15 16:17 16:19 16:19 16:11 16:19 16:29 16:22 16:20 16:16 4:04 15:52 16:15 16:08 16:11 16:05 16:19 16:15 16:24 16:15 16:15 16:00 14:22 16:20 15:59 16:11 16:11 16:24 16:22 16:16 Day By Day 9 Day By Day 7 Day By Day 6 Day By Day 5

61B

16:01

62B

15:46

Kum Back 2/1

63B

16:03

64B 65B 66B

16:45 16:06 15:31 Kum Back 2 / 2

67B 68B

16:01 14:10

69B 70B

16:13 7:05

71B

15:49

Kum Back 3/1

72B

15:59

73B 74B

16:36 15:59 Kum Back 3/2

75B Day By Day 8 76B

15:56 15:57

77B 78B

16:33 16:03 Kum Back 4/1

79B

11:01

16:25

80B 81B

11:52 16:10 16:12 14:39 Kum Back 4/2

71A 72A 73A

16:04 16:12 16:18 Day By Day 10

82B 83B

74A 75A

16:01 16:12

84B

15:53

76A 77A

16:24 16:12

78A 79A 80A 81A 82A 83A 84A 85A 86A 87A 88A 89A

16:32 16:09 85B 16:00

16:44 16:17

86B

16:15

Kum Back 5 /1

16:39 16:23 7:04

87B 88B 89B 90B 91B 92B 93B Day By Day 11

16:25 16:06 6:38 16:18 16:19 16:25 16:10 16:02 16:00 Kum Back 6/1 Kum Back 5/2

90A 91A 92A 93A 94A 9-Jan 95A 96A 97A 98A 99A 100A 101A 102A 103A 104A 105A 106A 107A 108A 109A 110A 111A 112A 113A 114A 115A 116A 117A 118A 119A 120A 121A 122A

16:34 16:23 16:09 16:27

94B 95B 96B 97B

16:24

16:18 16:16 16:11 16:28 14:57 16:12 16:06 16:28 16:10 16:07 16:25 16:36 16:21 16:36 16:23 15:43 16:40 16:21 16:22 16:34 16:19 Day By Day 14 107B 108B 16:06 16:08 Kum Back 7/2 Day By Day 13 103B 104B 105B 106B 16:05 16:13 16:33 16:20 Kum Back 7/1 Day By Day 12 98B 99B 100B 15:03 16:05 16:12 Kum Back 6/2

101B

15:59

102B

16:08

10-Jan

16:20 16:07 16:28 16:18 16:25

109B 110B 111B

16:23 16:14 16:04 Kum Back 8/1

123A 124A 125A 126A 127A 128A 129A 13-Jan 130A 131A 132A 133A 134A 135A 136A 137A 138A 139A 140A 141A 14-Jan 142A 143A 144A 145A 146A 147A 148A 400A 401A 402A 403A 404A 21-Jan 405A 406A 407A 408A 409A 410A 411A 22-Jan 412A 413A 414A 415A 416A 417A 418A 419A 16:51 15:55 16:01 16:12 14:00 15:54 15:54 15:54 16:09 16:15 15:11 16:49 6:44 16:09 16:12 16:10 16:16 15:41 16:08 15:59 16:35 16:12 16:17 16:09 13:18 16:20 14:08 16:23 16:34 16:29 15:45 16:02 16:28 Day By Day 20 Day By Day 19 Day By Day 18 Day By Day 17 Day By Day 16 16:10 29:11 6:09 16:16 16:29 16:16 16:15 16:09 16:26 Day By Day 15

112B

113B 114B 115B 116B 117B 118B 119B 120B

16:09 16:22 16:31 16:05 15:57 16:26 15:58 16:07 Kum Back 8/2

Kum Back 9/1 121B-1 6:01

121B-2

10:02

122B 123B 124B 125B

15:57 15:45 15:49 7:49 Kum Back 9/2

1000B 1001B 1002B 1003B 1004B 1005B 1006B 1007B 1008B Partial Partial Partial Partial

1009B 1010B 1011B 1012B 1013B 1014B 16:21 BEGIN Get Back Camera B Rolls

1015B

15:48

422A

16:17 1016B 16:13

420A 421A 423A 424A 425A 426A 427A 428A 429A

16:12 16:12 15:21 16:12 15:47 15:22 16:34 16:08 16:14 1020B 1021B Day By Day 21 1022B 1023B 1024B 1025B 1026B 1027B 16:08 16:34 16:09 16:21 16:09 16:34 16:07 15:47 16:11 16:13 16:13 16:36 1019B 16:17 1017B 1018B 16:33 16:20

B Rolls Vol 13

430A

15:56

B Rolls 14

23-Jan

1028B 1029B 1030B 431A 432A 433A 434A 435A 436A 437A 438A 439A 440A 441A 442A 443A 444A 15:51 15:54 16:09 15:52 15:23 16:10 15:56 16:11 16:25 16:05 16:07 16:17 16:27 15:56 15:57 11:33 Day By Day 23 1038B 1039B 1040B 1041B 1042B 1043B 1044B 1045B 1046B 447A 448A 449A 450A 451A 452A 453A 454A 455A 16:13 16:07 16:18 16:10 16:35 16:21 16:17 16:14 16:39 Day By Day 24 1047B 1048B 1049B 1050B 1051B 1052B* 1053B* 1054B 1055B 1056B Day By Day 22 1031B 1032B 1033B 1034B 1035B 1036B 1037B

B Rolls 15

16:01 16:38 16:12 16:19 16:15 16:30 16:15 16:00 16:19 16:30 15:38 Partial B Rolls 16

24-Jan

445A 446A

16:06 15:38 15:33 16:17 16:24 16:19 B Rolls 17

25-Jan

456A 457A 458A 459A 460A 461A 462A

16:14 16:00 16:05 16:25 16:01 16:11 16:09 Day By Day 25

1057B 1058B 1059B 1060B 1061B 1062B 1063B 1064B

16:12 16:07 16:19 15:58 16:12 16:23 16:36 15:59 15:58 16:06 16:25 16:07 16:19 16:19 16:16 5:28 B Rolls 1

463A 464A 465A 466A 467A 468A 469A 470A 471A 472A 473A 474A 475A 476A 477A 478A 479A 480A 481A 482A 483A 484A 485A 486A 487A 26-Jan 488A 489A 490A 491A 492A 493A 494A 495A 496A 497A 498A 499A 27-Jan 500A 501A 502A 503A

16:28 16:14 16:17 15:28 16:26 16:01 15:52 16:20 16:15 16:03 16:12 16:11 16:36 16:10 16:12 16:15 16:28 16:13 16:13 16:15 16:29 16:09 16:16 16:10 16:29 16:10 16:11 16:14 16:19 16:14 15:58 16:41 17:25 17:00 16:02 16:01 16:27 16:10 16:22 18:12 16:07 Day By Day 30 Day By Day 29 Day By Day 28 Day By Day 27 Day By Day 26

1065B 1066B 1067B 1068B 1069B 1070B 1071B 1072B

1073B

16:01

B Rolls 2 1074B 1075B 1076B 1077B 1078B 1079B 1080B 1081B 1082B 1083B 1084B 1085B 1086B 1087B 1088B 1089B 1090B 1091B 16:11 16:29 16:12 15:54 15:59 16:17 16:09 16:24 16:15 16:18 16:12 16:08 16:11 16:26 16:11 15:19 B Rolls 4 B Rolls 3 16:01

504A-1 504A-2 505A 506A 507A 508A 509A 510A 511A 512A 513A 514A 515A 516A 517A 518A 519A 520A 521A 522A 523A

15:58 16:05 16:20 16:19 16:11 16:12 16:13 16:30 16:15 16:07 16:03 16:32 16:17 16:12 16:16 Day By Day 32 Day By Day 31

1092B 1093B 1094B 1095B 1096B 1097B 1098B 1099B 1100B 1101B 1102B 1103B 1104B 1105B 1106B 1107B 16:29 16:17 16:10 16:00 16:30 14:52 16:13 16:15 17:24 16:11 16:12 16:01 B Rolls 6 16:11 16:27 16:05 16:08 16:01 16:04 16:17 16:09 16:11 16:31 16:10 15:41 16:04 B Rolls 5

16:29 16:21 15:53 16:11 14:32 Day By Day 33

1108B 1109B 1110B 1111B 1112B 1113B 1114B 1115B 1116B 1117B 1118B

524A 525A 526A 527A 528A 529A 530A 531A 532A 533A 28-Jan 534A 535A 536A 537A 538A 539A 540A 541A 542A 543A 544A 545A 546A 547A 29-Jan

16:19 16:10 16:10 16:00 16:12 16:13 16:13 12:55 16:11 16:01 14:23 16:26 16:12 16:11 16:09 16:26 15:09 16:00 16:04 17:24 16:06 15:58 16:11 9:08 Day By Day 36 BEGIN Purple Dog Day By Day 35 Day By Day 34 END Yellow Dog

1119B 1120B

16:31 16:13

B Rolls 7

1121B 1122B 1123B 1124B 1125B 1126B 1127B 1128B 1129B

16:03 16:06 16:13 16:12 16:10 16:10 16:26 16:05 15:26 B Rolls 8

1130B

15:30

1131B 1132B 548A 549A 550A 551A 552A 553A 554A 555A 556A 557A 558A 559A 560A 561A 16:27 16:15 16:13 14:15 16:29 16:08 16:14 15:34 14:46 16:20 16:12 16:16 16:14 8:54 Day By Day 37 1133B 1134B 1135B 1136B 1137B 1138B 1139B 1140B 1141B 1142B 1143B 1144B 1145B 1146B 562A 30-Jan 25:55 1147B 1148B-1 1148B-2 1149B 563A 11:14 Day By Day 38 4001C 5001D 1150B 1151B 565A 31-Jan 29:20 1152B 1153B 1154B 566A 21:09 1155B * Also on The Lost B-Rolls (Smiling Sphinx)

14:33 16:09 15:55 15:55 16:27 16:27 16:03 16:11 16:30 16:14 16:10 16:10 16:29 16:09 16:12 16:18 14:53 1:22 6:00 16:02 11:05 24:52 24:52 33:29 31:47 32:00 31:46 B Rolls 12 B Rolls 11 B Rolls 10 B Rolls 9

564A

33:03

32:12

Core Beatles Collection Detailed 2006/7 Upgrade


Label * No Label Records Catalogue No. NLR-0001 A/B Road UC082 UC084 STR020 YD009 YD080/081 SS049-50 SP148 VT180 SZ015-6 AF-014 SS005 SS113/4 VT6869 RAR0001 VT122 SP145 YD070/71 HMC001 None BGCD006 45R-0420 UC088 The A.M. Tape A/B Road The Abbey Road Tape Vol.1 The Abbey Road Tape Vol.2 Abbey Road Video Show Acetates Acetates Acetates Collection Addendum One: 1957-1964 Alf Together Now Another Sessions ...Plus Title Comments CDR 81 CDR CDR CDR CD CD 2CD CDR CDR CDR CDR

* Purple Chick * Unicorn * Unicorn * Strawberry * Yellow Dog * Yellow Dog * Unicorn * Silent Sea * Spank * Vigotone * Sweet Zapple * Audifon * Silent Sea * Silent Sea * Vigotone * Darthdisc * Vigotone * Spank * Yellow Dog * His Master's Choice

Another Tracks Of Magical Mystery 2 CD Tour Anthology Anthroplogy Around And Around Arrive Without Aging As It Happened, Baby! As Nature Intended Ausralian Tour 1964 The Beatles and The Great Concert At Shea! Beatles Complete January 1- to September 5 1962 Beatles In Italy 1965 Beatles In Montreal , 1964 Blackpool Night Out '64 (Upgrade) CD CDR 2CDR CD CDR CD 2CD 2CD CDR CD CD CDR

Atlanta '65 * Munich '66 * Seattle '64 CDR

* Silent Sea * Bulldog * Secret Garden * Unicorn

* MBE *

MBE002

Bravo Beatles Blittournee In Germany ,1966 (Second Version) Can You Hear Me? Celluloid Rock Cinelogue - Let It Be

CD CDR

JFC Records and JFC006 Tapes YD006 DD007/8

* Yellow Dog * Darthdisc * Purple Chick * Yellow Dog * Yellow Dog * Yellow Dog * Midnight Beat * Yellow Dog * Yellow Dog * Why Not * Yellow Dog * Unicorn TARKL * NONE * Vigotone * Roaring Mouse * Various * Vigotone * Midnight Beat * B4 Records * Masterfaction * Silent Sea * Silent Sea * Silent Sea

Vinyl 2CDR 10 CDR 2CD 2CD CD

City Of Lights Complete BBC Session Upgrade 2004

YD083-4 YD085-6 YD034 MBCD109-109 YD072/3 YD032 WN3002 YD2001 UC068

Complete Control Room Monitor Mxes Vol.1 Complete Control Room Monitor Mxes Vol.2 Complete Hollywood Bowl

Complete Hollywood Bowl Concerts 2CD 1964-1965 The Complete Rooftop Concert Control Room Mixes Danmark & Nederlands June 1964 A Day In The Life Down In Havana E.M.I Outtakes Five Point Wonderful 2CD CD CD CD CD CDR Vinyl 8CDR 2CDR CDR

* Condor/ Toasted CONDOR 1987 Dig It

VT183/4 DPRO 79971

From Kinfauns To Chaos From Me To You Get Back Get Back -The Glyn John's Final Compilation Gone Tomorrow, Here Today Help Sessions Help Original! Mix Home Tapes Vol.1 Home Tapes Vol.2 Home Tapes Vol.3

VT182 MBCD113 FF001 012/013 SS076-7 SS078

CD CD CD 2CDR CDR CDR

* Silent Sea * Silent Sea * Spank * Beat * Pegboy * * None * Silent Sea * Vigotone * FLO * Purple Chick * Vigotone * Savage Records Silent Sea * Yellow Dog * European Digipak YD2004 Quarry 60 YD2005 STR008-18 VT165 VT116 None SS025 VT132 Flo006 PC060 VT123 SP110 BEAT CD 017 PB1008

Home Tapes Vol.4 Home Tapes Vol.6 In Case You Don't Know It's All In The Mind You know It's Not Too Bad John Barratt's Reel Kaleidoscope Liverpool 63,12,07 Washington 64,02,11 Lost Pepperland Reel Make As Much Noise As You Like Meet The Threetles

CDR CDR CD CD CDR CD 2CDR CDR CDR CDR CDR

March 5, 1963 Plus The Decca Tape CDR Mach Shau! Melbourne 64.06.16 Melbourne 64.06.17 Message To Australia Might As Well Call Us Quarrymen Miscellaneous Tracks Mythology Vol.1-3 NME Poll Winners' Concert No.3 Abbey Road N.W.8 Northwest Nights O.P.D 2CDR CD Vinyl CD CD CD CD CDR CD Vinyl CDR CD CD CD 3CDR 10CD CDR

* Yellow Dog * Roaring Mouse * Strawberry * Vigotone * Vigotone * Darthdisc

DPRO 79974-6 More Masters

* Condor/ Toasted CONDOR 1986 Not For Sale * Spank * Vigotone * Masterdisc * Black Dog * Red Square * Vigotone * Masterfraction SP104 VT109 MDCD009 BD009 RS02 VT117 mfcd010-11 Peter Sellers Tape Primal Colours Puttin' On Style Rare Tracks Revolution Revolver Mono Matrix 1

Posters, Incense And Strobe Candles CD

* Several * * Masterdisc * Silent Sea * Unknown * Spank * Swinging Pig * Tobe Milo * Silent Sea * Silent Sea Non Plus Ultra * Vigotone * Brown Nose * Vigotone * Yellow Dog * Yellow Dog * Yellow Dog * Yellow Dog * Yellow Dog * Secret Trax * Swinging Pig * Swinging Pig * Yellow Dog * Yellow Dog * Yellow Dog * Yellow Dog * Yellow Dog * RAR * Beatle Boots * Flash Of Lightening

Several Jap 1 MDCD006 S133-134 ST12373/4 SP109 TSPCD005 TMCD8Q30s SS019 SS021 NPU-B-01/04 VT178-179 BN01 VT172-3 YD2003 YDB101-4 YDB201-4 YDB301-4 YD038/39 ST200020 TSPCD001 TSPCD002 YD003 YD004 YD005 YD012 YD013 RAR 007 KAS xxx FL026 Martha 0004

Road Runner Rumitape And More Secret Songs In Pepperland Sessionography Sessions Shea! / Candlestick Stars of '63 Studio Sessions Telecasts 1 Telecasts 3 Tokyo Highway '66 Turn Me On Dead Man Two Track Mind Ultimate Beatles Christmas Collection Ultimate Christmas Collection Ultimate Collection Vol.1 Ultimate Collection Vol.2 Ultimate Collection Vol.3 Ultimate Live Collection Vol.1 Ultimate Live Masters Ultra Rare Trax Vol.1 Ultra Rare Trax Vol.2 Unsurpassed Masters Vol.3 Unsurpassed Masters Vol.4 Unsurpassed Masters Vol.5 Unsurpassed Masters Vol.6 Unsurpassed Masters Vol.7 Video 1 Vinyl to The Core Upgrade Visit To Minneapolis & San Francisco Warts 'n' All We'd Like To Carry On

CDR CDR Cloned 4CDR 2 LP

CDR CDR CDR 4 CD 2CDR

2CDR CD 4CD 4CD 4CD 2CD 2 CD Cloned Cloned Cloned Cloned Cloned Cloned Cloned CDR 3CDR CDR

* Martha Records

* JFC Records and JFC005

CDR

Tapes * Silent Sea RZR SS011-14 White Sessions Z Is For Zapple! 4CDR

ALL Pages, Data and Images are for REFERENCE PURPOSE ONLY.
The collated information is from hundreds of sources, I am unable to verify the accuracy of any information implied or provided .

This pages is a working document, last updated on the 17-Nov-2007

Copyright Chris Johnson 1999-2007.

NOTES You can see: - Core Collection sources - Alternate core collections - Other sources - fake sources - Not confirmed sources

All the Beatles period is divided in several PDF files. Each file contains pieces of music recorded with its title, a tiny description and the official/boots recordings where you can find the best source (core), alternative best sources, other sources, not as good as the core/alt. Ones and fakes or dubious sources. Each source is clasifies by the colours of the text: Blue : Core Red: Alternate Core Green: Other Sources Fucsia: Sources where you can find tiny bits of the piece that is not available in the core source, so you need it if you want the whole thing. In case of offical stuff Ive considered core the most available media if you dont have a turntable. (for example With The Beatles LP Stereo is the FSL With The Beatles CD

Studio Sessions 1961 - 1963 Studio Sessions 1964 - 1965 Studio Sessions 1966 - 1967 Studio Sessions 1968 - 1969 & Christmas Home Recordings BBC Sessions Television Sessions In Concert Twickenham Sessions Apple Sessions

STUDIO SESSIONS 1961 - 1963


Hamburg 22-23 Jun With Tony Sheridan SS.TS.01.RS.GI My Bonnie German Intro Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Original Stereo. Polydor (Germany) 841 141-2 Tony Sheridan vol. 1 SS.TS.01.RS.EI My Bonnie English Intro Stereo This song comes with a slow introduction in English (32 seconds) or German (35 seconds) or with no introduction. The two intros are similar musically but slight differences show them to be different takes and not vocals dubbed on the same backing track. PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.01.RS.NI My Bonnie No Intro Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Stereo made from original stereo. Appeared in Germany Polydor 237 622 Let's do the Twist (1964) and Polydor 244 504 Circa 1960 In the Beginning (1970). Theres a mock stereo made from this one appeared in US: MGM SE 4215 Beatles with Tony Sheridan 1964 SS.TS.01.RS.Medley My Bonnie Stereo Medley version

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.01.RM.GI My Bonnie German Intro Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Mono made from original stereo. Appeared in Germany: Polydor 24 673 "Mein Herz ist bei dir nur" single 1961 SS.TS.01.RM.EI My Bonnie English Intro Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Mono made from original stereo. Appeared in English Polydor 66 863 SP (1962) and Decca 31382 SP (1962) SS.TS.01.RM.NI My Bonnie No Intro Mono Engineer Karl Hinze Hinze refers to the loss of the slow intro to My Bonnie as an edit, which would mean the English intro is part of the recording and the German intro uses an edit piece. We know that the test pressing record the Beatles brought to England on July 2 had the English intro. But it still may be that both intros are edit pieces added to a recording of the song only. PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes

Mono made from stereo without intro made from original stereo (ole!). Appeared in Polydor 52 273 single 1964 (UK and Germany) SS.TS.01.RM.Medley My Bonnie Mono Medley version

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.02.RS The Saints Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.02.RS.Medley The Saints Stereo Medley Version

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.02.RM The Saints Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Mock stereo made from this one appeared in US: MGM SE 4215 Beatles with Tony Sheridan 1964 SS.TS.02.RM.Medley The Saints Mono Medley Version

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.03.RS Cry For A Shadow Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.03.RS.Medley.V1 Cry For A Shadow Stereo Medley Version #1

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.03.RS.Medley.V2 Cry For A Shadow Stereo Medley Version #2

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.03. RM Cry For A Shadow Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Mock stereo made from this one appeared in US: MGM SE 4215 Beatles with Tony Sheridan 1964 SS.TS.03.RM.Medley.V1 Cry For A Shadow Mono Medley Version #1

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.03.RM.Medley.V2 Cry For A Shadow Mono Medley Version #2

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH)

SS.TS.04.RS Why? (Cant You Love Me Again) Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.04.RM Why? (Cant You Love Me Again) Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Mock stereo made from this one appeared in US: MGM SE 4215 Beatles with Tony Sheridan 1964 SS.TS.05.RS Nobodys Child Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.05.RM Nobodys Child Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.05.RM.US Nobodys Child Mono US version

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Theres a mono version from this mono version at Atco 33-169 Ain't She Sweet (1964), and a mock stereo version from the mono of Aint She Sweet LP for the Stereo release of this LP (Atco SD 22-169). Atlantic edited 58 seconds to bring this mono version to a still long (for 1964) 2:54, losing most of the second verse and, stranger, two guitar chords just at the end (but keeping the last bass note). Polydor 52 906, a 1964 German Tony Sheridan single of Sweet Georgia Brown, has a different recording of this song with just Tony solo, no bass and drums. SS.TS.06.RS Aint She Sweet Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.06.RM Aint She Sweet Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.06.RM.NB Aint She Sweet - Overdubbed No Beatles Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Atlantic's new mono master is a mix of the original mono mix plus added drums. For reasons unknown, this version went back to Polydor in Germany, and appeared years later on the standard CD release from Polydor Germany and then on Anthology 1 in 1995. Only a Japanese CD single (P1OP 30006) and album have it in stereo, and maybe they are using a tape sent there years ago. The stereo mix is easily identified, with John vocal left, rhythm guitar center, and lead guitar, bass and drums right. One r.m.b. reader reports the original German pressing of the CD under the title "The Beatles' First" does have the song in stereo. Theres also a mock stereo version of this mono overdubbed version. It appeared at US: Atco SD 33-169 Ain't She Sweet 1964. This item it is not in the ultimate Bear Family Records release.

SS.TS.07.RS Take Out Some Insurance On Me Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.07.RM Take Out Some Insurance On Me Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.07.RM.NB Take Out Some Insurance On Me - Overdubbed No Beatles Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes This mono is an edit of the mono version and mixed with new guitar, drums and harmonica. The edit removes "some goddam" from the line near the end where Tony sings "ooh some goddam insurance on me baby". Theres also a mock stereo version of this mono overdubbed version SS.TS.08.RS Sweet Georgia Brown Original Vocal Stereo Both stereo mixes (this one and SS.TS.08.RS.NV) mysteriously go into mock stereo for the "vamp" at the end of the song. This presumably shows an edit in the May 24 instrumental track done by June 7. Given the live mix, maybe the stereo image was different on the take used for the ending and they made it less jarring by processing it? No one knows. PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.08.RS.NV Sweet Georgia Brown - New Vocal Stereo

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes Only the original stereo mix, available on an EP included with Gottfridsson's book, and the mono reduction issued on one German EP in 1962, uses the 1962 lead vocal with the song's correct lyrics. This version, more common, and its reduction (SS.TS.08.RM.NV), using the new lead vocal recorded in 1964, first appeared on German single 52 324 of April 1964, Skinny Minnie by Tony Sheridan (the A side is not the Beatles). It then appeared again on German single 52 906, often dated January 1964 but really about June 1964 based on "The Gramophone" and the catalog number, again coupled with a non-Beatles number, a Tony Sheridan solo remake of "Nobody's child" (which he had recorded previously with the Beatles in 1961). SS.TS.08.RM Sweet Georgia Brown Original Vocal Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.08.RM.NV Sweet Georgia Brown - New Vocal Mono

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.08.RM.NV.NB Sweet Georgia Brown - New Vocal - Overdubbed No Beatles Mono This Atlantic release was made from SS.TS.08.RM.NV with added drums and guitar. Complicating the release history is that Tony had recorded the song on Dec 21 1961, the version used on the My Bonnie LP released in June 1962, just after he'd done the vocal for the Beatles version! The non-Beatles recording has no backup vocals among other differences. PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) Notes

Theres also a mock stereo version of this mono overdubbed version. It appeared at US: Atco SD 33-169 Ain't She Sweet 1964. This item it is not in the ultimate Bear Family Records release. SS.TS.09.RS Swanne River Stereo With Intro

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.09.RS.NoIntro Swanne River Stereo Without Intro

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.09.RM Swanne River Mono With Intro

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH) SS.TS.09.RM.NoIntro Swanne River Mono Without Intro

PS Beatles Bop Hamburg Days [Bear Family Records (BCD 16447 BK or BCD 16583 BH)

Decca Audition SS.DEC.01 Like Dreamers Do Disc 1 Track 18 SS.DEC.10 Three Cool Cats Disc 1 Track 16

PS Anthology 1 AS The Complete Decca Audition (Masterdisc) SS.DEC.02 Money Track 32 SS.DEC.03 To Know Her Is To Love Her Track 33 SS.DEC.04 Memphis Track 34 SS.DEC.05 Till There Was You Track 35 SS.DEC.06 Sure To Fall Track 36 SS.DEC.07 Besame Mucho Track 37 SS.DEC.08 Love Of The Loved Track 38 SS.DEC.09 Hello Little Girl Track 39 SS.DEC.11 September In The Rain Track 41 SS.DEC.12 Take Good Care Of My Baby Track 42 SS.DEC.13 Crying Waiting Hoping Track 4 SS.DEC.14 The Sheik Of Araby Track 44

PS March 5, 1963 Plus The Decca Tape CD AS The Complete Decca Audition (Masterdisc) OS Anthology 1 for 09 (Disk 1 Track 19); 14 (Disc 1 Track 17) SS.DEC.15 Searchin

PS The Ultimate Collection Vol.1 Disc 1 Track 15 AS The Complete Decca Audition (Masterdisc) OS Anthology 1 Disc 1 Track 15 (Crossfaded at the start with unrelated spoken word, and in that portion a tape loop of the instrumental introduction has been edited in)

EMI Artist Test SS.ETC.01 Besame Mucho

PS Ultra Rare Trax 1 Track 10 OS Anthology 1 Disc 1 Track 21 (The last line going into the fade seems to be a repeat of the previous line, edited in, probably done for Sessions) SS.PPM.08.Test Love Me Do

PS Anthology 1 Disc 1 Track 22

Love Me Do / PS I Love you SP SS.PPM.08.RM.SP Love Me Do Mono Mix Single Version

Ringo drumming, no tambourine PS Past Masters 1 Track 1 Notes The vinyl transfer [a1] on Capitol's Rarities is from a slightly noisy 45rpm copy owned by EMI and sent to Capitol intended as a reference but used as the best available copy. In 1982 a better 45rpm vinyl copy was made available to EMI by a collector just after EMI issued Love Me Do LP version on the twentieth anniversary single (because they were unhappy with the quality of Love Me Do SP, which should have been used for authenticity). The master made from this disk copy immediately became the standard and has been used ever since, most easily available on Past Masters. Oddly considering its generally better quality, has a little distortion noticeable on harmonica not heard on the SP, apparently caused during "declicking", so a further improved copy may be made someday SS.PPM.08.RM.LP Love Me Do Mono Mix LP Version

Ringo on tambourine PS Please Please Me CD Track 8 Notes The version in Please Please Me Stereo LP and The Early Stereo LP is mock stereo from this mix. The version in The Early Mono LP is a mono version made from the mock stereo. SS.PPM.08.RM PS I Love You Mono Mix

PS Please Please Me CD Track 8 Notes The version in Please Please Me Stereo LP and The Early Stereo LP is mock stereo from this mix. The version in The Early Mono LP is a mono version made from the mock stereo.

SS.ETC.02.RM How Do You Do It Original Mono Mix

PS Not For Sale CD AS Ultra Rare Trax 1 Track 6; Another SessionsPlus; Artifacts Disc 1 SS.ETC.02.RM.SES How Do You Do It Adultered Sessions Mono Mix It was edited in 1984 to change the first "wish I knew how you do it to me, I'd do it to you" at the end to "wish I knew how you do it to me, but I haven't a clue" copied from earlier in the song-- a pointless exercise. PS Anthology 1 Disc 1 Track 23

Please Please Me /Ask Me Why SP SS.PPM.07.Early Please Please Me Early Version Acetate Mono Mix No harmonica, and apparently Andy White drumming as on the other songs of this day PS Anthology I Disc 1 Track 24 SS.PPM.07.RS Please Please Me Stereo Mix Please Please Me Mono and Stereo were made from different takes, although the five sections of harmonica are the same on both. The harmonica overdubbing was only done once. The stereo version has the famous collision in verse 3 on "You know you never even try"/"Why do I never even try", followed by the laugh on "Come on come on". Some have explained this difference by saying the mistake was repaired for mono by editing in a replacement for just this section. However, the two versions have differences all the way through, so they must be two different complete takes. For example, in verse 1, compare the sound of the word "try" in the second line, and in the bridge, compare "reason with you, oh yeah" in stereo against "reason with you, whoa oh yeah" in mono. John's voice is rougher all the way through the mono take. In stereo, the harmonica appears in the right channel, the same as the vocal. During the first 4 segments, which occur between vocal lines, the bass guitar sound also comes way up on the right, and the whole ambience changes much more than in mono. During the last segment, which overlays vocals, the harmonica is less audible than in the mono mix, which is puzzling. Lewisohn reports in Recording Sessions that the mono mix was from "unknown takes", meaning he saw no studio documentation for takes. The easiest explanation is to suppose that the mixing information was already missing in February 1963 and that it led to the staff accidentally editing the pieces into the wrong take when they did the stereo mix, three months after the mono. The changes in ambience therefore are the difference between two takes. David Prokopy on r.m.b. has proposed that a tape reel was lost, so that the harmonica survived only on the mono mix itself, and that therefore the stereo mix was made by synchronizing the mono mix with an alternate take. This explains why the first 4 segments don't have just the harmonica by itself on the right, but have bass and some of the other sound as well (i.e. the right channel is a processed version of the mono mix), and why the last harmonica segment is at lower volume, namely to hide that it doesn't really match. The last particularly would mean they were deliberately using a different take for want of the correct one. PS see Please Please Me Stereo LP Notes In the stereo mix there is a mistake in the words I know you never even try girl.... In Every Little Thing Vol.2 Disc 1 Track 22 the stereo mix has the collision corrected. An stereo remixed from this stereo mix eas used for The Early Stereo LP. A mono made from this reprocessed stereo mix was used for The Early mono LP SS.PPM.07.RM Please Please Me Mono Mix

The five sections of harmonica are overdubs. Although it could have been done by recording harmonica into a complete second generation tape, Lewisohn, in Recording Sessions, refers to "harmonica edit pieces", and it sounds like there is an edit before the last of them. They were certainly used as edit pieces for Please Please Me Stereo Mix PS see Please Please Me Mono LP SS.PPM.06.RS Ask Me Why Stereo Mix

PS see Please Please Me Stereo LP Notes An stereo remixed from this stereo mix eas used for The Early Stereo LP. A mono made from this reprocessed stereo mix was used for The Early mono LP SS.PPM.06.RM.SP Ask Me Why Mono Mix Single

PS Please Please Me / Ask Me Why SP Side B Track 1 OS Introducing The Beatles (Vee Jay mono LP second issue) [Dr. Ebbets Sound System CD] Notes Might be the same mix that appears on Please Please Me LP, or in Please Please Me / Ask Me Why CD SP; I think it is the same mix that appears in the mono album Introducing.. second issue. SS.PPM.06.RM.LP Ask Me Why Mono LP

PS see Please Please Me Mono LP

Please Please Me LP (Outtakes) SS.PPM.01.Pre01 I Saw Her Standing There Pre Tk1 Chat

SS.PPM.01.01 I Saw Her Standing There Tk 1 This first take of Paul McCartney's classic "potboiler" is, indeed, the version released commercially on the Beatles' debut album for Parlophone. McCartney's count-in introduction (taken from take 9) would be edited to the song's beginning later. Also to be added later would be Beatle hand- claps. Otherwise, the song was a live performance, captured in one take. However, only hindsight is said to be twenty-twenty, and at this point, it must have been felt that it could be improved upon, hence the additional takes. SS.PPM.01.02 I Saw Her Standing There Tk 2 A second go at what would be the album's opening track. John Lennon is ready, "Okay, go on." George Martin, from the booth, announces, "Here we go. . . stand by." Just before the take kicks off, a quick consultation between the band's two songwriters, as John demonstrates to Paul how he will come in after the the count-in. Paul understands, "Okay." SS.PPM.01.03 I Saw Her Standing There Tk 3 At this point it is probably agreed that either take one or take two will be chosen for inclusion on the album (presumably take one). Hence, the recording of this edit piece, taken from the first repeat of the line "Woah, since I saw her standing there. ." at the song's ending. This edit piece, however, was never used. SS.PPM.01.04 I Saw Her Standing There Tk 4 Another edit piece, but this time the band takes it from just before the solo break. Perhaps in an attempt to add some "life" to what must have been perceived at the time to be somewhat "lifeless," Paul adds occcassional shouts of excitement behind George's solo. This take dissolves into break down, after the line "Well, my heart went boom, when I crossed that-"

SS.PPM.01.05 I Saw Her Standing There Tk 5 Norman Smith, engineer for the session, makes his announcement: "Another edit piece. . uh, take- same edit piece, rather. Take five." Once again, the boys take it from just before the solo. This attempt includes a few more screams and shouts underneath George's tense twanging of the solo. This take, too, breaks down, this time only a few seconds past the point of the song where the previous take fell apart. SS.PPM.01.06 I Saw Her Standing There Tk 6 The Beatles are through with edit pieces for now. The song is now to be taken straight from the top again. Norman Smith confirms this, "Complete one, take six." Bassist Paul is caught on the session tape conferring with John on the order of the lyrics: "How could I dance. . . She'll n- , She wouldn't dance. . . I'll never dance. ." This run-through of the lyric sequence is particularly funny in view of the fact that take six breaks down precisely because of a flub on these very words. During the second stanza, Paul starts off singing the correct lyric of "She wouldn't dance. . ." but changes it mid-word to "I-I 'll never dance. . ." because John is incorrectly singing it that way. The take breaks down after that. McCartney comments, "Too fast. ." George Martin : "No, you had a wrong word. She, I. . ." Paul: "But, I mean, it's too fast anyway." After no acknowledgement from the booth on this matter, and a new take announcement from Norman Smith, Paul says, "Then again. . . ." SS.PPM.01.07 I Saw Her Standing There Tk 7 Paul counts in, but is immediately dissatisfied, commenting, "Too fast. . . .again" as the take quickly breaks down. Paul: "And again. . .I'm sorry, you know. . ." SS.PPM.01.08 I Saw Her Standing There Tk 8 This eighth attempt to perfect the song also breaks down. A guitar part is conspicuously missed as Paul sings "And the way she looked. ." during the first stanza. Paul: (in his best Liverpudlian) "What 'appened?" SS.PPM.01.09 I Saw Her Standing There Tk 9 This take is complete. Most important to note is that it is the count-in intro of this take that is used on the commercially released version used on their first album. It is the first "spirited" count-in used by Paul, all others being quiet and generally accompanied by foot-tapping. George's guitar solo is once again tense and slightly sloppy in places. There is once again a scream or two behind the solo. In a couple of places, the singing is a little shaky, but still enjoyable to hear nontheless. SS.PPM.01.10 I Saw Her Standing There Tk 10 SS.PPM.01.11 I Saw Her Standing There Tk 11 SS.PPM.01.12 I Saw Her Standing There Tk 12

PS Pre01,06: Abbey Road Video Show; 01,03,04,05,07,08,11,12 The Ultimate Collection Vol.2; 02: Backtrack CD; 09: Free As A Bird CD SP Track 2; 10: Ultra Rare Trax Vol. Three+Four LP AS 02: Ultra Rare Trax 1 OS 02,06,10 The Ultimate Collection Vol.2 (incorrect speed) SS.PPM.02.01 Misery Tk1 Engineer Norman Smith announces, "Mis-er-y Take One" as the four Beatles ready themselves to record yet another song on what is amounting to be quite a busy day of recording. It is an original composition, penned by the foursome's songsmiths, John Lennon and Paul McCartney. Take one begins with a simple guitar strum from John's guitar. George Martin would eventually overdub piano over the intro. The familiar piano phrases after the line "I'll remember all the little things we've done" is, at this point, being played by George Harrison on electric guitar.

This first take is complete, and not unlike the released version. SS.PPM.02.02 Misery Tk2 Disc 2 Track 21 George Harrison has a quick go at the filler run (later to be overdubbed on piano by George Martin) just prior to the song's second attempt. After the song's opening line, the timing into the first stanza is off a bit. By the second stanza, the proceedings come to a halt as per a whistle from the booth above. George Martin, ever sounding dignified, asks, "George has changed guitars, hasn't he?" A communal Beatle reply: "No." George Harrison, in an interesting reply: "I probably changed the tone." Probably? George Martin: "Ah, yeah. . .Can we thin it up a bit? A little less volume, George." SS.PPM.02.03 Misery Tk3 Disc 2 Track 21 Some quick Beatle adjustments. . George Martin is ready: "Okay, here we go again. ." John: "Okay." Paul McCartney quickly consults John on some bass phrasings, explaining his ideas phonetically, "Boodyboody, ba-ba-boody, you know, after-" John cuts him off, "Oh, leave that out. . ." Paul: "Leave that out. . ." This take aborts early after a muffed chord from John early in the first stanza. In disgust, John lets out an "Ahh. . ." Paul rolls off into a swooping "Ooooh. . ." SS.PPM.02.04 Misery Tk4 Disc 2 Track 21 John Lennon asks, "Should we go?" The answer is yes, and the Beatles set off into take four. During the song's second stanza, there is a mixup on the second line. McCartney sings "I won't see her no more" while Lennon sings "She won't come back no more. ." Immediately thereafter, the take breaks off into nothing. John: "It's these damn words." SS.PPM.02.05 Misery Tk5 Disc 2 Track 21 This take, the fifth, is victim of the same lyrical flub as in the previous try. John also plays an incorrect chord on the line "I won't see her no more. ." After a breakdown, John repeats the troublesome words, "I won't. . ." From the booth, the reassuring voice of George Martin: "Tricky line. . ." Lennon agrees, "You're right, George." Paul then pipes in, "I won't see her no more. ." (with particular emphasis on "won't") John: "Yeah, I won't see her no more. .I could see out the corner of my eye." SS.PPM.02.06 Misery Tk6 Disc 2 Track 21 Purely for the purposes of being over-technical, it can be said that there are actually two take sixes (but not really). John starts with his semi-broken opening guitar strum, then stops. Immediately, he gives it a secong go. (There you go) Again, the timing is slightly off coming out of the song's first line. There is also an ill-timed drum break after the initial singing of the line "I'll remember all the little things we've done. ." Yet, this take is complete, even though its clear that the boys aren't quite there. SS.PPM.02.07 Misery Tk7 Disc 2 Track 22 Another complete take of what would eventually be the forthcoming album's second track. SS.PPM.02.08 Misery Tk8 Disc 2 Track 22 The session tape catches Paul discussing song structure: "Come in on the 'I'm the kind,' first verse. . .okay, go." John begs to differ: "He's not coming in. . ." A moment later, take eight begins. This version, however, breaks down quickly, as it appears Lennon was trying to sing something akin to either "Woah, I'm the kind of guy. . ." or "Well, I'm the kind of guy. . ." Paul: "You said the wrong word. . ."

PS The Ultimate Collection Vol.2 except 01: Backtrack CD AS 01: Ultra Rare Trax 2 OS 01: The Ultimate Collection Vol.2 Disc 2 Track 20 SS.PPM.11.07 Do You Want To Know A Secret Tk7 SS.PPM.11.08 Do You Want To Know A Secret Tk8

PS 07: Unsurpassed Masters Vol.7 Track 1; 08: The Ultimate Collection Vol.2 Disc 2 Track 13 YN Not For Sale CD for the first line of 07 without damage but with early fade-out SS.PPM.12.06 A Taste Of Honey Tk6 SS.PPM.12.07 A Taste Of Honey Tk7

PS 06: The Ultimate Collection Vol.2 Disc 2 Track 14; 07: Ultra Rare Trax Vol. 4 OS 07: The Ultimate Collection Vol.2 Disc 2 Track 15 SS.PPM.13.01 Theres A Place Tk1 The Beatles' young bassist, Paul McCartney, lets out a cough as the session tape begins. Quickly, a count-in kicks off the bands first album session. The song's distinctive harmonica introduction is not in place yet, instead picked out on guitar by 19 year old George Harrison, the band's lead guitarist. Also missing is the famed guitar pluck at the song's very beginning, one not dissimilar to the start of the group's latest single, Please Please Me. Understandibly, the voices from bassist Paul and the band's rhythm guitar player John Lennon (who also plays harmonica) are a bit shaky. Confidence is yet to come, but this first take, a complete one, is not the one. SS.PPM.13.02 Theres A Place Tk2 This second attempt of an original Lennon and McCartney song is, too, complete. Again, George plays the intro on guitar, and as in the previous take, inserts little phrases in between lines. At the end of the first stanza, as John sings the solo line "When I'm alone. . ." Paul appears to be adding a back-up "ooh." Whether this was intentionally done or spur of the moment is unclear. It is never heard again. The overall performance is, again, not quite there yet, with an unsurety still popping up in places. Note that the opening guitar pluck is in place this time. SS.PPM.13.03 Theres A Place Tk3 From the get-go, the timing is off on take three. The song quickly breaks down. An announcement from above: "Again. ." SS.PPM.13.04 Theres A Place Tk4 The Beatles run through another complete take, this time sounding closer to the final product. The performance is tighter. However, John Lennon perhaps puts too much "punch" in the singing of the line "When I'm alone. . ." SS.PPM.13.05 Theres A Place Tk5 The session tape catches George Harrison partially running through the opening phrase of the band's newest record Please Please Me as John discusses the timing of the opening lines with Paul McCartney. John: "Do that bit you do. . ." (sings the word "There") Paul: "You ready?" John: (again, singing the word "There") "If you go (sings it again), It works better if you do it on the beat somehow, you know." McCartney gives a quick count-in, but immediately interrupts the take himself, "Start it again. . ." John: "Why? Why?" Paul: "It was bad, that beginning. . ."

SS.PPM.13.06 Theres A Place Tk6 This sixth take is a complete one. Overall, it is a very good performance, but apparently to those involved, not quite right yet. SS.PPM.13.07 Theres A Place Tk7 This go makes it through the end of the first verse, and then no more. George Martin was obviously dissatisfied: "From the top. . ." SS.PPM.13.08 Theres A Place Tk8 Paul, perhaps getting a bit frustrated (or maybe still a bit nervous?) delivers a more spirited count-in which comes immediately after the break down of the previous take. Ringo Starr, the group's drummer and newest member (also the oldest of the four boys) gives a slightly outof-time, almost hectic filler coming into the middle eight, after the line "Like I love only you. . ." Take eight is complete. SS.PPM.13.09 Theres A Place Tk9 Paul's intro into the ninth attempt is an extended one, "One. .two. .. One, Two, Three, Four. ." This take is also a complete run-through, but there are some minor problems. Paul's voice seems to wobble a bit on the harmony of the line ". .The things you said. ." before the middle-eight. Also off is the harmony on the word "love" in the line "Like I love only you" also just before the middle-eight. George Harrison also hits a bad chord during the third stanza after the singing of "When I feel low. . ." SS.PPM.13.10 Theres A Place Tk10 Another extended count-in takes The Beatles into what is, for the most part, the commercially released version of There's A Place. SS.PPM.13.11 Theres A Place Tk11 An attempt of the harmonica overdub onto take ten. SS.PPM.13.12 Theres A Place Tk12 This second attempt at the overdub is aborted PS 01,04: Backtrack Part II CD; 02,07,08,09,10,12,13: The Ultimate Collection Vol.2; 03: Backtrack CD; 05,06: Unsurpassed Masters Vol. 1; 11: Ultra Rare Trax Vol. Three+Four LP AS 03,04: Ultra Rare Trax 2 OS 01,04,03,05,06,11: The Ultimate Collection Vol.2 (incorrect speed)

Please Please Me Mono LP The US versions in Capitol The Early Beatles and Meet The Beatles Mono LPs are the processed US mixes collapsed to mono. The Vee-Jay album Introducing The Beatles uses the mono mixes from EMI. Original American tracks: I Saw Her Standing There: Mono from processed US stereo (Meet The Beatles) Misery: UK Mono Mix (Introducing) Anna: Mono from processed US stereo (The Early) Chains: Mono from processed US stereo (The Early) Boys: Mono from processed US stereo (The Early) Ask Me Why 62 Mono Mix: Vee Jay VJ 498 SP (1963) Ask Me Why 63 Mono Mix: Mono from processed US stereo (The Early) Please Please Me: Mono from processed US stereo (The Early) Love Me Do SP version: No appearances till Rarities (1980)

Love Me Do LP version: Mono from UK mock stereo (The Early) P.S. I Love You: Mono from UK mock stereo (The Early) Baby Its You: Mono from processed US stereo (The Early) Do You Want To Know A Secret: Mono from processed US stereo (The Early) A Taste Of Honey: Mono from processed US stereo (The Early) Theres A Place: UK Mono Mix (Introducing) Twist And Shout: Mono from processed US stereo (The Early) PS Please Please Me CD Notes I Saw Her Standing There: The original stereo has a drop in volume in verse 3 near "we danced through the night". Misery: The instrumental intro is shorter than the stereo.

Please Please Me Stereo LP The US versions in Capitol The Early Beatles and Meet The Beatles Stereo LPs add a touch of reverb, but are the UK mixes. The Vee-Jay album Introducing The Beatles uses the stereo mixes from EMI too. Original American tracks: I Saw Her Standing There: Processed US stereo (Meet The Beatles) Misery: UK Stereo Mix (Introducing) Anna: Processed US stereo (The Early) Chains: Processed US stereo (The Early) Boys: Processed US stereo (The Early) Ask Me Why: Processed US stereo (The Early) Please Please Me: Processed US stereo (The Early) Love Me Do LP version: UK mock stereo (The Early) P.S. I Love You: Processed US stereo (The Early) Baby Its You: Processed US stereo (The Early) Do You Want To Know A Secret: Processed US stereo (The Early) A Taste Of Honey: Processed US stereo (The Early) Theres A Place: UK Stereo Mix (Introducing) Twist And Shout: Processed US stereo (The Early) PS Please Please Me (Spock CD); Please Please Me (Dr. Ebbets Sound System) AS Please Please Me (MFSL CD); Please Please Me (Horzu CD)

Please Please Me LP Other Mixes and related A Taste Of Honey,Do You Want To Know A Secret,Anna,Boys,Chains,Baby Its You,Twist And Shout: The US versions in Capitol Stereo LP The Early Beatles are the preprocessed stereo mixes from the

original UK stereo mixes. In Capitol Mono LP The Early Beatles are the preprocessed stereo mixes from the original UK stereo mixes collapsed to mono. I Saw Her Standing There: The US version in Capitol Stereo LP Meet The Beatles is the preprocessed stereo mix from the original UK stereo mix. The US versions in Capitol Mono LP Meet The Beatles are the preprocessed stereo mixes from the original UK stereo mixes collapsed to mono. I Saw Her Standing There: The countdown is edited off in 1,2,3 but the four! remains in Vee Jay Introducing... SS.PPM.01.RS.76 I Saw Her Standing There RS for Rock And Roll LP

The drop in volume in verse 3 near "we danced through the night" is corrected in this LP, which also has the two tracks brought slightly to center. PS Rock And Roll Music SKBO 11537 [Dr. Ebbets Sound System CD] AS Rarities 3: The Final Mixes [Beat CD] SS.PPM.02.RS.Rar Misery Tampered official RS for US Rarities

The left instrumental channel is relatively louder, which isn't bad, but reverb has been added too especially in the intro vocal. PS Rarities SHAL 12060 [Dr. Ebbets Sound System CD] AS Every Little Thing Vol.3 Disc 2 Track 1 SS.PPM.12.RS.76 Boys RS for Rock And Roll LP

PS Rock And Roll Music SKBO 11537 [Dr. Ebbets Sound System CD] AS Rarities 3: The Final Mixes [Beat CD] SS.PPM.13.RS.Rar Theres A Place Tampered official RS for US Rarities

Has the left, instrumental channel relatively louder PS Rarities SHAL 12060 [Dr. Ebbets Sound System CD] SS.PPM.14.RS.76 Twist And Shout RS for Rock And Roll LP

This remix has the two tracks moved slightly to center PS Rock And Roll Music SKBO 11537 [Dr. Ebbets Sound System CD] AS Rarities 3: The Final Mixes [Beat CD]; Every Little Thing Vol.3 Disc 2 Track 21 Notes Remixed from original UK Stereo Mix SS.PPM.14.RS.86 Twist And Shout 86 RS for film Day Off

Remix from the original stereo mix probably made for the film Ferris Bueller's Day Off, or at least for the promotion of the single related to it, which has the left instrumental track relatively louder. PS Capitol B5624 single 1986

From Me To You / Thank You Girl SP SS.PM1.02.01 From Me To You Tk1 Track 1 There is some Beatle throat-clearing as the session for this new Beatles song, destined to be their third single, kicks off. The familiar introduction of "da-da-da da-da-dum-dum da" is not in place yet. George Harrison is playing the phrase on his electric guitar. There are also various lead guitar fillers thrown in between verses that would later be modified. John and Paul, in the second stanza, sing "So call on me. . ." instead of the well-known "Just call on me. . ." This take, however, is not a complete one. It breaks down just before the section of song where the middle break is meant to come in. Paul, in his best Liverpudlian lilt, asks: "What 'appened?" George Martin, from the booth: "You tell me what happened." Paul: "Uh, I just thought I heard you talking actually." John, interjects his own thoughts: "Did you whistle? . .I heard the speaker. . I heard a whistle." After a moment of non-productivity, John says: "Ah (sic), . .come on. ." SS.PM1.02.02 From Me To You Tk2 Track 2 Paul begins with a "Sorry" and a "Ready" just prior to the start of the take. The ominous voice from above announces, "From the top again. ." This take is complete, ever-so-slightly slower than the released version. Again, George throws in lead fillers here and there. John and Paul, in the second stanza, have a mix-up in the lyric, One singing "So call on me. . ." the other "Just call on me. . ." An important point to note here is that the middle break meant for the harmonica and the answering phrases "From Me. . ." "To You. . ." are absent. Rather, the song proceeds to G Minor and the lines "I got arms that long to hold you. . ." Also important to note is that fact that Ringo's drum fillers at the song's ending, under the repeating lines "To you. . ." are, too, absent, prompting Paul to laugh, "Ha. . ha. .you missed the ending." SS.PM1.02.03 From Me To You Tk3 Track 3 Prior to the start of the third take, John mumbles, "No, that speed's alright." This take is also a complete one. Again, during the second stanza there is an ever-so-slight mixup in the words "So" and "Just." Yet, this time they sing it ALMOST perfect, the two of them leaning toward the singing of "Just." John, however, sings "Jo," combining the two words. Also, Ringo almost gets it right this time, missing only the first set of fillers towards song's end. All in all, a fairly decent take. SS.PM1.02.04 From Me To You Tk4 Track 4 This complete take edges ever closer to perfection. John and Paul are both singing "So" during that critical second stanza. Again, there is no middle break, and Ringo is right on this time. SS.PM1.02.05 From Me To You Tk5 Track 5 The session tape reveals John addressing George Harrison prior to the start of take five. John: "Yeah, do the first bit, but not the second bit, he said." (referring to suggestions made by George Martin) George Martin: "Are you with us?" John (to Martin): "George is to play the first bit of instrumental, isn't he?" This version is slightly faster than previous takes. It is also the take that introduces the bars for the middle break. An interesting observation about this take: It sounds as if John and Paul are singing: "Don't call on me, and I'll send it along. . ." SS.PM1.02.06 From Me To You Tk6 Track 6 A quick break down. SS.PM1.02.07 From Me To You Tk7 Track 6 This take is, for the most part, the commercially released version of the song. SS.PM1.02.08 From Me To You Tk8 Track 7 SS.PM1.02.08.EP From Me To You Tk8(ep) Track 8

This "take" is an overdub onto Take 7. Added here is the "da-da-da da-da-dum-dum-da" introduction. Also overdubbed are the harmonica phrasings for the middle break and ending . SS.PM1.02.09 From Me To You Tk9(ep) Track 9 This piece includes an harmonica overdub for the song's introduction, and another attempt at the middle break. This edit piece is intended to include harmonica passages for the song's ending. However, John seems to miss his cue: "Was I meant to be playing then?" SS.PM1.02.10 From Me To You Tk10(ep) Track 10 More attempts at overdubbing. SS.PM1.02.11 From Me To You Tk11(ep) Track 11 This piece is interesting in that The Beatles experiment with humming the introduction sequence. SS.PM1.02.12 From Me To You Tk12(ep) Track 12 Yet another overdub attempt. SS.PM1.02.13 From Me To You Tk13(ep) Track 13 This ia a bizarre sounding variation on the "da-da-da da-da-dum-dum-da" introduction. Paul is singing an octave higher, his voice is raspy and slightly off-key. PS March 5, 1963 Plus The Decca Tape (remastered version) OS The Ultimate Collection Vol 2 SS.PM1.02.RM From Me To You Mono Mix The mono mix has a harmonica added during the intro, which is quite interesting since the session tapes as heard on bootlegs do not reveal any such edit piece. From available evidence it appears that the mono mix's intro must have been made by synchronizing two source tapes, not too hard since it is right at the beginning of the song and is quite short. No tape has the harmonica alone, so it would be a section of the instrumental verse that was used. Note slight "phasing" in the drum sound by the end of the intro, in mono, as the synchronization slips. PS Past Masters I Track 2 SS.PM1.02.RS From Me To You Stereo Mix John's harmonica is featured in the opening on all mono pressings, but has been eliminated on all stereo issues of this song. the harmonica "fills" in the rest of the song are identical. The new sound added while making "track 2", the second generation-- the vocal in the intro and all the harmonica-- was mixed into both tracks, so it sounds centered when heard in stereo. In fact the master tape of take 8, which is the second generation tape composed of the sound from take 7 plus live sound, appears virtually unmixed in this mix. PS The A Collection Of Beatles Oldies (stereo) PCS 7016 [Dr. Ebbetts Sound System] AS The Worlds Best; Please Please Me Stereo (Horzu CD); Every Little Thing Vol.1 Disc 1 Track 26 Notes Vee Jay did not have the stereo mix and used the mono version on the stereo LP VJSR SS.PM1.02.RS.JB From Me To You Alt Stereo Mix

PS Turn Me On Dead Man Disc 1 Track 1 SS.PM1.03.01 Thank You Girl Tk1 Track 14

Some warm up sounds fill Number 2 before Take One proper begins. John paractices the "Oh! Oh!" introduction of the song. Paul makes a last minute comment, "Same as we do. . ." The take begins. Paul counts in. On this take, John and Paul sing "And all I WANNA do is thank you, girl. . ." as opposed to "Gotta." Also different is that both of them sing "That's the kind of love that SEEMS to good to be true. ." Slight differences also exist in the brief two-bar break between stanzas where the harmonica is normally heard, preceding the singing of "Oh! Oh! (which actually sounds like Ow! Ow!)" Here, John and Paul are singing "Oh! Oh!" as well. The same practice is implemented after the final stanza. Also absent are the familiar drum fillers present at the end of the commercial release. SS.PM1.03.02 Thank You Girl Tk2 Track 15 The session tape begins with Ringo practicing a filler while John explains what needs to be done, "You know, just on the end. . . ." "Thanks. ." Norman Smith's voice blares "Take Two." John and Paul quickly run through the songs intro on guitar and bass, singing the "Oh! Oh!" bit, as a point of clarifying the structure. John: "Oh, it's the same as before, that's right. . ." The take begins with Ringo coming in during Paul's count-in on the off-beat between 3 and 4. It quickly breaks down. SS.PM1.03.03 Thank You Girl Tk3 Track 15 This take is a quick start, this time void of Ringo's little drum intro. It quickly breaks down due to John mistakenly going to the wrong chord after the first two bars. John: "Fff-" (almost spitting out the expletive) Paul immediately takes them into the next take: "And again. 1. .2. .3. .4. ." SS.PM1.03.04 Thank You Girl Tk4 Track 16 This take is complete. Again, John and Paul sing, "All I Wanna do . . ." in the first stanza. There is a mix-up on the words "is" and "seems". . . . "That's the kind of love that SEEMS/IS to good to be true. . ." By the second stanza, John is definitively singing "All I GOTTA do. . ." The "Oh! Oh!" sequence over the two-bars where the harmonica will eventually wind up are eliminated. Paul forgets this exclusion the second time around, accidentally letting an "Oh!" sneak through. Ringo's attempts at the ending fillers are not quite there yet, slightly ill-timed and choppy. SS.PM1.03.05 Thank You Girl Tk5 Track 17 This, too, is a complete take. It is interesting to note that this time around John is singing "Seems too good to be true." This take is basically a good one (save for a slightly shaky vocal beginning) until Paul attempts a scaling effect with his harmony on the lines "Thank you, girl" towards the song's end. There is technically nothing wrong with it - it is perfectly in key - but it throws off John, causing him to come in late on the repeat of "Thank you, girl." This time, Ringo's fillers start on cue, but the timing towards resolution is still off. SS.PM1.03.06 Thank You Girl Tk6 Track 18 This is, for the most part (save for the ending and harmonica overdubs), the commercially released version of the song. It is extremely interesting to note that during the second stanza in the lines "Only a fool would doubt our love." Paul is clearly singing "COULD" while John sings "WOULD." Also interesting about the released version is that the words "is" and "seems" are again mixed-up. John sings "IS too good to be true" while Paul sings "SEEMS too good to be true. ." SS.PM1.03.07 Thank You Girl Tk7(ep) Track 19 It is decided that a new ending must be recorded as an edit piece, to be tacked on to Take 6. Norman Smith announces "For ending. John: "Three times, remember."

The take kicks off from just before the final set of "Ohs." However, the take never reaches Ringo's first filler, breaking down almost immediately. John: "What have you done?" SS.PM1.03.08 Thank You Girl Tk8(ep) Track 20 Same edit piece, complete. The drumming is still not right. SS.PM1.03.09 Thank You Girl Tk9(ep) Track 21 Another attempt at the ending. SS.PM1.03.10 Thank You Girl Tk10(ep) Track 22 John: "See, I've thought of a way we could do it. . If we play what he's doing. .to keep him on the beat. (demonstrating) Brrr-rump - ba-ba-ba - Oh!" Again, Ringo is off, the take breaking down. John: "He's gone off. ." SS.PM1.03.11 Thank You Girl Tk11(ep) Track 23 John takes his suggestion to the booth this time: "Can you hear Me?" (voice laden with echo) "If we went . . .Oh!. . .Oh!. . .Oh! (strumming his point) to keep him on the beat?" Paul: "Just on D" (referring to the chord) Ringo: "Just the bass bit. . ." John: "Just on D. . .No, we just go. . ." (demonstrating) Norman Smith bellows in: "Take Eleven." John finishes: "You know, we (sic) all together but you be so loud. . .Okay, start." Ringo is getting closer, but it still breaks down. John: "You shouldn't have gone . . ." (strumming his point) SS.PM1.03.12 Thank You Girl Tk12(ep) Track 24 John continues his thought: "Just go . ." (strumming) George Martin interjects from the booth : "I think Ringo will just have to keep back himself. I don't think it'll help, Paul." Paul: "Just do what we were doing before. ." After another announcement of "Twelve," John gives in, "Okay, come on." A little more discussion ensues before the edit piece is attempted. It is complete this time, almost perfect. SS.PM1.03.13 Thank You Girl Tk13(ep) Track 25 John: "No, they're alright, the breaks. . ." This edit piece is the one edited onto Take 6. PS March 5, 1963 Plus The Decca Tape (remastered version) OS The Ultimate Collection Vol 2 SS.PM1.03.RM Thank You Girl Mono Mix Vee Jay had some problem with this mix; it runs a little slow on the single, and a little fast on the LP PS Past Masters I Track 3 SS.PM1.03.RS Thank You Girl Stereo Mix Stereo has harmonica edit pieces in the middle and at the end that were not used for mono, and has more echo. Unlike From Me to You, the harmonica was mixed into only the vocal track. The stereo mix has a lot of echo on it, which was probably an addition by Capitol. Odeon (Germany) got some material from Capitol, and their stereo "Thank you girl" may be Capitol's processed version PS The Beatles Second Album (stereo) ST 2080 [Dr. Ebbets Sound System] AS Alternate Masters; Please Please Me Stereo (Horzu CD); Every Little Thing Vol.2 Disc 2 Track 15 Notes

In Every Little Thing Vol.3 Disc 2 Track 16 is the mono remix from stereo used in The Beatles Second Album. Vee Jay did not have the stereo mix and used the mono version on the stereo LP VJSR SS.PM1.03.JB.RSa Thank You Girl Alt Stereo Mix #1 SS.PM1.03.JB.RSb Thank You Girl Alt Stereo Mix #2

PS Turn Me On Dead Man SS.ETC.03.01 One After 909 Tk1 Track 1 The session tape reveals George Harrison running through a few lead guitar phrasings as John confers with him : "You know, just at the beginning. ." George is heard saying: ". .For the intro . ." as the discussion continues. John demonstrates his point: "No, we'll go. . ."(playing the intro, pointing out to George when he should come in with his guitar) John: "Just come in somewhere, you know. ." John (to the booth): "Okay, should we go?" Take one then begins. During the singing of the lines "Move Over Once. . Move over twice. ." in the second stanza, the song breaks down. John (to Ringo): "What're you doing? Are you out of your mind? Do the boom-boom-boom-boom" (referring to the kick drum). He apparently wished for Ringo to play that section of the song using his kick drum only, and not by keep a straight beat as he did. Ringo: "You said keep going." SS.ETC.03.02 One After 909 Tk2 Track 2 This is a complete version of the song - the only complete take The Beatles would pull off. George's solo is slightly tense and uneven. It's interesting to note that George, after the solo, goes back into the song playing the chord that would be correct if John had resumed singing the lines as they would eventually appear in 1969's rooftop version of the song "Picked up my bags. . ." Instead, John takes it from the lines "Well, my baby said she's travelling. . ." Perhaps George's instinct to play it that way in 1963 led to the song's restructuring in 1969. At the end of the take John asks, "What kind of solo was that?" SS.ETC.03.03 One After 909 Tk3 Track 3 This breaks down with John once again asking the age old question, "What're you doing?" Paul: "It's murder. I can't do it. .I can't keep it up. . ." (referring to playing without a pick). This is also the first take that does not have George Harrison playing lead guitar over the intro. SS.ETC.03.04 One After 909 Tk4 Track 4 It ends with Paul's accusation, "It's you! It's you!" in reference to John apparently coming in too early from the solo break. For the most part, this is true, and the "fault" CAN be placed on John for the breakdown. Here's why: The complete Take 2 featured what one might call the standard 12 bar blues progression of the I, IV, V chords. Hence, in basic terms, by bar we have: C, C, C, C, F, F, C, C, G, F, C, G. The Take 4 solo, for whatever reason, was played differently. The chords are basically the same, that is the I, IV, V root chords, but this time it is played in a pattern that has the natural resolution to the top occuring after 16 bars, instead of 12 (like, for instance, I Saw Her Standing There). The mistake lies with John. Though arguments can be made that he was only doing as he did on Take 2, he was clearly PLAYING the 16 bar sequence - NOT what he was doing on Take 2. Apparently, his head and hands were in two different places. SS.ETC.03.05 One After 909 Tk5(ep) Track 5 This piece is taken from just before the solo, with the probable intention of being edited onto the first half of Take 4. PS Studio Sessions (Tobe Milo) OS The Ultimate Collection Vol.2

SS.ETC.03.SES One After 909 Sessions Edited Mix

PS Anthology I Disc 1 Track 26 Notes Take 4 to near the end of the solo, edited to take 5

She Loves You / Ill Get You SP SS.PM1.04.RM She Loves You Mono Mix

PS Past Masters I Track 4 Notes In Every Little Thing Vol.2 Disc 2 Track 3 is the reprocessed stereo of this track appeared in Second Album Capitol album and in Track 4 the reprocessed stereo from Germany. In Vol.3 Disc 2 Track 13 is a reprocessed stereo from the US edition of 1962-1966 LP In Second Mono the song is a mono made from the UK mono mix. Others mock stereo are [SS.PM1.04.RS1] for Collection Of Oldies Stereo LP (1966) ; Capitol 1962-1966 LP (in Every Little Thing); and CD EP The Beatles Hits (in the Boxed set) and in CD 1962 1966 Regarding the CD tracks: The edits became much more noticeable in the first CD appearance in Past Masters I (1988), which seems to reproduce the mono mix "too well"-- that is, masters made for earlier releases all treated the song with echo or tone rebalance, not to mention mock stereo, which partly hid its problems. The sonic restoration by Peter Mew, made originally for the CD EP set in 1992, sounds much better than Past Masters I. SS.PM1.04.RS1 She Loves You RS1 SS.PM1.04.RS2 She Loves You RS2 Version 2

PS Turn Me On Dead Man SS.PM1.05.RM Ill Get You Mono Mix

PS Past Masters I Track 5 Notes In Every Little Thing Vol.1 Disc 2 Track 29 is the reprocessed stereo of this track appeared in Second Album Capitol album With The Beatles LP (Outtakes) SS.WTB.01.Unk1 It Wont Be Long Unknown Take #1 SS.WTB.01.Unk2 It Wont Be Long Unknown Take #2

PS Alf Together Now SS.WTB.04.10 Dont Bother Me Tk10 Track 16 Lead Gutarist for The Beatles George Harrison is heard demonstrating and discussing some timing structures as the session tape kicks on: ". .No, that stays. . ." The voice of Engineer Norman Smith makes it official: "Don't Bother Me... This is remake. .We're calling it Take 10."

The take begins. This run-through is complete, yet clearly not releasable. George's voice, for instance, is offkey in places, particularly towards the end of the second stanza, on the lines "I've got no time for you right now, don't bother me. ." Overall, his vocal performance is shakey. Timing, too, is a problem with this take, especially as the song heads toward the finish. As the take is ending. George is singing, "Oh yeah, Rock and Roll Now, Oh yeah. . ." SS.WTB.04.11 Dont Bother Me Tk11 Track 17 The familiar sounds of prepatory warm-ups are heard from the Beatle guitars in Number Two. This is to be the second take of the remake, officially called Take 11. A George Harrison count-in takes the band into the song. For those familiar with the commercially released version of this Harrison original, there is a small yet disinctive difference in the structure of the song attempted on this take. One will note on the commercial release that there is a one-bar instrumentation break as George sings the lines "So, go away, leave me alone . . ." Ringo's drumming resumes on the second syllable of the word "away." This pattern is repeated on the lines "I've got no time for you right now. . ." and so on. In this take, a similar break occurs on the opening line "Since she's been gone. . ." As interesting as this structure is in theory, it would go no further. The take breaks down apparently because George thought it was going a bit too fast. SS.WTB.04.12 Dont Bother Me Tk12 Track 18 This third attempt might be called the "Confusion Take." George, once again, counts-in the Fabs. Again, there is a one-bar instrumentation break as the opening line of the song is sung. Yet, confusion abounds during the opening line of the second stanza. A close listen suggests that perhaps George intended for there to be a break at this point as well. His guitar hits a determinative chord that would have timed perfectly to a break in the drum beat. However, Ringo and Paul keep playing through. Matters grow worse when Ringo does break on the lines "It's just not right when every night. . ." No one else seems sure. The take breaks down soon thereafter. SS.WTB.04.13 Dont Bother Me Tk13 Track 19 This take is essentially the released version of the song. As Mark Lewisohn points out, overdubs were placed on Take 13 (that being Take 15). Altogether, Don't Bother Me survived through 19 takes. One can assume that Take 14 was either another attempt at a run-through of the song, or a first attempt at overdubs. Takes 16 through 19 can be assumed to be unsatisfactory overdub attempts, although it is not out of the question that perhaps another complete take was attempted. Lewisohn is not specific. PS Studio Sessions (Tobe Milo) SS.WTB.07.07 Please Mr. Postman Outtake SS.WTB.07.Rough Please Mr. Postman Rough Mix

PS Alf Together Now SS.WTB.09.20 Hold Me Tight Tk20 Track 6

SS.WTB.09.21 Hold Me Tight Tk21 Track 7 The song's author, Beatle bassist Paul McCartney, counts in the second take attempted (the first, presumably an aborted try). At this point, Paul's vocals are single-tracked (of course), and John Lennon and George Harrison are delivering their "answering lines." Yet, during the second go-round of the lines "Hold. . .Me Tight" where John and George are meant to answer Paul, John sings "Sleep tight," while George sings the correct line "Me Tight." Also interesting to note is that during the second run-through of the middle-eight, the instrumentation is different than the first play-through. This time, it continues in the style of the verses, complete with the familiar guitar motifs running through, and Ringo straight-drumming, hi-hats and all. Ringo's filler coming into the final stanza is slightly off-time as well. Some of John and George's amswering phrases are ill-timed, John coming in too-late with the word "Hold." The take is complete.

SS.WTB.09.22 Hold Me Tight Tk22 Track 8 George and Paul discuss the song's structure briefly. George: "There's just two middle eights. . ." The Beatles are soon ready, and the take kicks off. The take breaks down at the end of the first stanza due to another timing error between George and John on the answering lines "Hold." John is again coming in too late. George Martin: "Start again. . ." He explains to the band that the take had to be stopped because of the timing mistake. Paul then runs through it with John. He sings, "So hold. . ." John answers correctly, "Hold. . ." Mr. Norman Smith, the great voice from above, cuts in: "Take Twenty-three." Paul makes sure, "So what are you gonna do?. . .(sings) .'So hold'. . ." SS.WTB.09.23 Hold Me Tight Tk23 Track 9 Some Beatle chatter, most of it just prepatory mumbling. . . The fourth attempt of the session begins. This one quickly comes to a halt as Paul flubs the second line, to which he cries, "Oh, bloody hell!" Norman Smith announces the next take. Paul: "I forget these first words. ." SS.WTB.09.24 Hold Me Tight Tk24 Track 10 This is, for the most part, the released version of the song. SS.WTB.09.25 Hold Me Tight Tk25 Track 11 This take will be overdubbing onto take 24. Additional vocals as well as handclaps are in order. Beatle handclapping is heard just prior to the take playback. This overdub breaks down early on. To begin with, the vocals are slightly ill-timed, and a little out of key. Secondly, John appears to be questioning something related to the recording of the handclaps. SS.WTB.09.26 Hold Me Tight Tk26 Track 12 This overdub is complete. SS.WTB.09.27 Hold Me Tight Tk27 Track 13 This is another attempt at the same overdubs. This take is quickly aborted as nobody came in to sing. SS.WTB.09.28 Hold Me Tight Tk28 Track 14 Yet another attempt, incomplete. SS.WTB.09.29 Hold Me Tight Tk29 Track 15 Again. . .this time complete. The released version of the song is an edit of takes 26 and 29 PS Studio Sessions (Tobe Milo) SS.ETC.04 Piano + Drum Instrumental

PS Alf Together Now SS.ETC.NS1 Messages To Australia Tk1

PS Vinyl To The Core With The Beatles Mono LP The mixes in Meet The Beatles and The Beatles Second Album are the reprocessed stereo mixes collapsed to mono.

Original American tracks: It Wont Be Long: Mono from Processed US stereo (Meet The Beatles) All Ive Got To Do: Mono from Processed US stereo (Meet The Beatles) All My Loving: Mono from Processed US stereo (Meet The Beatles) Dont Bother Me: Mono from Processed US stereo (Meet The Beatles) Little Child: Mono from Processed US stereo (Meet The Beatles) Till There Was You: Mono from Processed US stereo (Meet The Beatles) Please Mr. Postman: Mono from Processed US stereo (Second) Roll Over Beethoven: Mono from Processed US stereo (Second) Hold Me Tight: Mono from Processed US stereo (Meet The Beatles) You Really Got A Hold On Me: Mono from Processed US stereo (Second) I Wanna Be your Man: Mono from Processed US stereo (Meet The Beatles) Devil In Her Heart: Mono from Processed US stereo (Second) Not A Second Time: Mono from Processed US stereo (Meet The Beatles) Money: Mono from Processed US stereo (Second) PS With The Beatles LP Notes You Really Got A Hold On Me: the instrumental track is mixed relatively quiet until the line "oh ho ho you treat me badly", when it comes up to a more normal level; in stereo [b] it starts at normal level and remains Money: The piano intro appears to be the same on both mixes, but with tapping in [a]. The other differences are the raspy guitar sound in mono [a] and the more prominent piano sound throughout in stereo [b]. It Wont Be Long: The edit seems to be the last line; the word "belong" sounds shorter in [a] as if it is done differently. Hold Me Tight: In stereo [b], "you you you" at the end has a harmony vocal missing in mono [a], so there was at least one difference in the editing. Little Child: Stereo has additional vocals heard at the very end. With The Beatles Stereo LP The mixes in Meet The Beatles and The Beatles Second Album are the UK stereo reprocessed. Original American tracks: It Wont Be Long: Processed US stereo (Meet The Beatles) All Ive Got To Do: Processed US stereo (Meet The Beatles) All My Loving: Processed US stereo (Meet The Beatles) Dont Bother Me: Processed US stereo (Meet The Beatles) Little Child: Processed US stereo (Meet The Beatles) Till There Was You: Processed US stereo (Meet The Beatles) Please Mr. Postman: Processed US stereo (Second) Roll Over Beethoven: Processed US stereo (Second) Hold Me Tight: Processed US stereo (Meet The Beatles) You Really Got A Hold On Me: Processed US stereo (Second)

I Wanna Be your Man: Processed US stereo (Meet The Beatles) Devil In Her Heart: Processed US stereo (Second) Not A Second Time: Processed US stereo (Meet The Beatles) Money: Processed US stereo (Second) PS With The Beatles Stereo [Spock CD]; The Beatles Second Album (stereo) ST 2080 [Dr. Ebbets Sound System] AS With The Beatles Stereo [MFSL CD]; With The Beatles Stereo [SMO CD] With The Beatles (Other Mixes and related) SS.WTB.03.RS.Untr All My Loving Stereo Mix Untrimmed

Opens with 5 taps on a hi-hat, left, and then an intake of breath, right PS The Worlds Best AS Every Little Thing Vol.1 Disc 1 Track 4 Notes Theres a mono mix untrimmed, possibly from SS.WTB.03.RS.Untr appeared in an Odeon Germany SP A US CD of rarities issued by Westwood One in 1993 allegedly for radio stations has a forgery of this untrimmed mix made by joining a tape copy of a record of this to a cleaner copy of the UK stereo. The stereo image is reversed in one of them, and the intake of breath is missing. SS.WTB.03.RS.93 All My Loving RS for 1962-1966 CD

has the vocal track centered, leaving nothing far right. PS 1962 1966 CD SS.WTB.04.RS.Error Dont Bother Me Official Stereo Mix With Pressing Error

This one is stereo mix except for a vocal error by George at almost the end of the song, where he sings an extra "don't" out of place in "when she's come home, until that day, DON'T, don't come around, leave me alone". This is on Capitol of Canada purple label side 2 matrix ST-2047 B and possibly other label variants issued after they stopped using the Apple label in 1976. Capitol of Canada had previously used only a mono mix of this song for their mono-only "Beatlemania! With the Beatles" LP. (The same LP has "I want to hold your hand" and "This boy" in mock stereo, not using the stereo "This boy" that they had later in 1976.) Its believed a tape error which occurred during the mastering or pressing process. PS The Worlds Best AS Every Little Thing Vol.1 Disc 1 Track 4 SS.WTB.08.RS.Edited Roll Over Beethoven RS With Vocal Error

This is is like the original stereo mix except for a vocal error by George at almost the end of the song, where he sings an extra "don't" out of place in "when she's come home, until that day, DON'T, don't come around, leave me alone". PS Canada Capitol Meet The Beatles [c. 1976] Notes

In Canada Capitol ST 2047 Meet the Beatles circa 1976. Its supposed a tape error which occurred during the mastering or pressing process. SS.WTB.08.RS.76 Roll Over Beethoven RS for Rock And Roll LP

This remix has the two tracks moved slightly to center PS Rock And Roll Music SKBO 11537 [Dr. Ebbets Sound System CD] AS Rarities 3: The Final Mixes [Beat CD] Notes Remixed from original UK Stereo Mix SS.WTB.11.RS.76 I Wanna Be Your Man RS for Rock And Roll LP

PS Rock And Roll Music SKBO 11537 [Dr. Ebbets Sound System CD] AS Rarities 3: The Final Mixes [Beat CD] Notes Remixed from original UK Stereo Mix I Want To Hold Your Hand / This Boy SP SS.PM1.06.01 I Want To Hold Your Hand Tk1 SS.PM1.06.09 I Want To Hold Your Hand Tk9

PS Abbey Road Video Show Track 26 SS.PM1.06.RM I Want To Hold Your Hand Mono Mix

PS I Want To Hold Your Hand / This Boy CD SP Notes A Mock Stereo was made for Capitol ST 2047 Meet the Beatles (1964). Another Mock Stereo for Capitols The Beatles 1962-1966 1973. SS.PM1.06.RSa I Want To Hold Your Hand Stereo Mix 63

The first ever stereo mix made by George Martin from 4-track, has the rhythm instruments far left and vocal far right, like a twintrack mix, leaving the lead guitar isolated in the center, which sounds odd since it only plays fills. PS Another Phase AS The Worlds Best; Every Little Thing Vol.1 Disc 2 Track 24 SS.PM1.06.RSb I Want To Hold Your Hand Stereo Mix 66

PS Past Masters I Track 6 Notes J. Brennan thinks there is a previous different stereo mix made 8 June 1965. He says: The other two stereo mixes are similar but distinguishable. The June 1965 mix has the lead guitar louder and the handclaps slightly louder, and somewhat more bass sound. Compare for example the right channel on

the last "ha-a-a-and": the louder guitar covers the vocal more than in Nov 66 Mix. This more common mix has slightly less bass but the cymbal sound is better-- both these differences from 1965 mix may be pressing or LP mastering, rather than the mix, but the handclap and particularly the lead guitar are mix differences. Other people think they are the same mix, only different LP mastering. This whatever-it-is-mix appeared in Germany Odeon Beatles Greatest (1965) and Beatles Beat (1966); Australia Greatest Hits (1966) and Holland Beatles Greatest (1967). Its available on CD at And Now: The Beatles (stereo) S*R International 73735 [Dr Ebbetts Sound System CD] SS.PM1.07.06 This Boy Tk6

PS Abbey Road Video Show Track 26 SS.PM1.07.12 This Boy Tk12 SS.PM1.07.13 This Boy Tk13

PS Free As A Bird (CD EP) Track 3 AS With The Beatles Stereo (SMO CD) SS.PM1.07.RM This Boy Mono Mix

PS I Want To Hold Your Hand / This Boy CD SP A Mock Stereo was made for Capitol ST 2047 Meet the Beatles (1964). Another Mock Stereo for Parlophones Love Songs (1977). SS.PM1.07.RS This Boy Stereo Mix RS15

PS Turn MeOn Dead Man OS Past Masters I Track 7 (no take announcement) YN More Masters (announcement longer) Notes In Every Little Thing Vol.2 Disc 2 Track 17 is the reprocessed stereo for Meet The Beatles LP, and in Vol.3 Disc 2 Track 19 is the reprocessed stereo from the reprocessed stereo of Disc 2 (!!) issued in 77 Love Songs LP

STUDIO SESSIONS 1964 - 1965


Komm Gib Mir Deine Hand / Sie Liebt Dich SP SS.PM1.08.RM Komm Gib Mir Deine Hand Mono Mix

PS Past Masters 1 Track 8 SS.PM1.08.RS Komm Gib Mir Deine Hand Stereo Mix

Talk ("coming"?) and at the start of the stereo mix (is partly cut off on Parlophone's Rarities) PS Alternate Masters CD AS Every Little Thing Vol.2 Disc 1 Track 7 SS.PM1.08.RS.US Komm Gib Mir Deine Hand US Stereo Mix

PS Something New (stereo) ST 2108 [Dr.Ebbets Sound System] PS Something New Deluxe [Horsehoe CD] SS.PM1.09.10 Sie Liebt Dich Tk10

PS Abbey Road Video Show Track 26 SS.PM1.09.RM Sie Liebt Dich Mono Mix

PS Past Masters 1 Track 9 SS.PM1.09.RS Sie Liebt Dich Stereo Mix

PS Rarities SHAL 12060 [Dr. Ebbets Sound System] AS Alternate Masters; Every Little Thing Vol.2 Disc 2 Track 9 A Hard Days Night LP Outtakes SS.HDN.07.02 Cant Buy Me Love Tk2

PS Ultra Rare Trax 2 Track 1 OS Unsurpassed Masters 7 (worse sound and incorrect speed) SS.HDN.07.03 Cant Buy Me Love Tk3

PS Unsurpassed Masters 7 Track 5 SS.HDN.12.06 You Cant Do That Tk6

PS Anthology I Disc 2 Track 10 SS.HDN.02.08 I Should Have Known Better Tk8 SS.HDN.02.11 I Should Have Known Better Tk11 incomplete

PS Abbey Road Video Show Track 26 SS.HDN.05.02 And I Love Her Tk2

PS Anthology I Disc 2 Track 11 SS.HDN.05.20 And I Love Her Tk20?

PS Abbey Road Video Show Track 26 SS.HDN.06.04 Tell Me Why Tk4

PS Abbey Road Video Show Track 26 SS.HDN.01.01 A Hard Days Night Tk1

It is the take that, among other slight differences, features Paul McCartney singing ". .Feeling you holding me tight, all through the night. . ." on the middle-eight. PS The Ultimate Collection Vol.3 SS.HDN.01.02.FS A Hard Days Night False Start SS.HDN.01.02 A Hard Days Night Tk2

PS Abbey Road Video Show Track 7 SS.HDN.01.03 A Hard Days Night Tk3 Disc 2 Track 1

This third attempt at the song that would eventually be the title-track of their forthcoming film is not unlike take one. It is complete, perhaps slightly slower than the released version. As the boys bring the song into the middle-eight, Paul McCartney sounds as if he's singing either "In I'm home. . ." or "And I'm home. ." instead of the familiar "When I'm home. . ." Paul also sings ". .Feeling you holding me ti - i - i -ght. ." eliminating the line "All through the night." George Harrison's solo, though not particularly intricate by any means, is played sloppily. To compound the shakiness of this take, John and Paul are singing two different lines coming out of the solo. The signature guitar passages at the song's conclusion are very tense and choppy. Paul laughs, "What's that?" SS.HDN.01.04 A Hard Days Night Tk4 Disc 2 Track 2 Beatles' rhythm guitarist John Lennon counts in this complete take, a slightly tighter version. The ending of the song dissolves into laughter, prompting George Harrison to comment, "You never know how many you're ending. ." SS.HDN.01.06 A Hard Days Night Tk6 Disc 2 Track 3 Paul McCartney, by this take, seems to be in a particularly jovial mood, singing "Oh, yeah. .Scooby-doobydooby. ." as the rest of the band prepares to set off into take six. By the time the song reaches the end of the verse preceding the solo break, the take has broken down due to a bad chord played by George Harrison. John: "I heard a funny chord." Pointing his finger, he nails the guilty party, "It was him." George Martin agrees: "So did I." Lennon: "Pardon?" Martin: "So did I." SS.HDN.01.07 A Hard Days Night Tk7 Disc 2 Track 4

Lucky number seven did not turn out to be the final take, but it is a slightly more spirited version than in previous takes, ever-so-slightly faster as well. Paul's harmony at the end of the first stanza arrives just a tad late. John and Paul have a slight lyric mixup, each singing something different on the line " 'Cause when I get home to you. . ." just before the solo break, and again during the final stanza. Again, a little bit of laughter follows the final guitar passage at the end of the song, which is still not quite right. John: "I bust a string. . ." SS.HDN.01.08 A Hard Days Night Tk8 Disc 2 Track 4 Norman Smith announces the take number as some Beatle chatter fills Number Two. "Shurrup. ." says John, adding, "I wish we had the words written out properly." John comes in with a quick count-in, but the take immediately comes to a halt after Paul is late with his opening bass note. SS.HDN.01.09 A Hard Days Night Tk9 Disc 2 Track 5 Just prior to this take, which turns out to be, for the most part, the commercially released version of the song, Paul is heard running through the bass sequence of the middle-eight. After the quick refresher, he says, "Go." John counts in. . . PS The Ultimate Collection Vol.3 SS.HDN.01.RS.JB A Hard Days Night RS82

PS Another SessionsPlus SS.HDN.13.02 Ill Be Back Tk2 SS.HDN.13.03 Ill Be Back Tk3

PS Anthology I Track 17 and 18 SS.HDN.13.12 Ill Be Back Tk12 SS.HDN.13.13 Ill Be Back Tk13 SS.HDN.13.14 Ill Be Back Tk14

PS Abbey Road Video Show Track 26 SS.ETC.05 Train Music

PS Vinyl To The Core Disc 1 Track 20 SS.ETC.NS.05.Speech Jimmy Nichol Rehearsal Speech

PS Jimmy Nichol And The Beatles CD SS.ETC.NS.05.Reh Jimmy Nichol Rehearsal Rehearsal

PS Fanthology SS.ETC.06 You Know What To Do Demo

PS Anthology I Disc 2 Track 19 A Hard Days Night Mono LP

Original American tracks: A Hard Days Night: UK Mono Mix (United Artists) I Should Have Known Better: UK Mono Mix (United Artists) If I Fell: UK Mono Mix (Something New) Im Happy Just To Dance With You: UK Mono Mix (Something New) And I Love Her: US mono mix (Something New) Tell Me Why: UK Mono Mix (Something New) Cant Buy Me Love: Mock Mono (United Artists) Any Time At All: US mono mix (Something New) Ill Cry Instead: US mono mix (Something New) Things We Said Today: UK Mono Mix (Something New) When I Get Home: US mono mix (Something New) You Cant Do That: US mono mix (Second) Ill Be Back: US Mono Mix (Beatles 65) PS A Hard Days Night CD Notes Cant Buy Me Love: The mono mix [a] has the rhythm track mixed more upfront, and sounds more powerful, but at the same time the guitar is less audible. In the stereo mixes some of the drum sound appears in the center, fading up in between vocal lines and then back down, giving the impression it sounds this way on the multi-track. However, the outtake from the same day (see above) does not have this, so maybe it happened during the work in February rather than during recording. It may make for a better compressed sound in mono but sounds bad in stereo. The stereo version that appeared the German LP The Beatles Beat, when it was issued in stereo in late 1965 or 1966, seems to have the lead guitar mixed a little softer. I think this is a mastering difference-- several songs on the LP have less harsh treble-- but this one is still open. It might be the stereo mix done March 10 and believed to be unused. The processing by United Artists for A Hard Days Night stereo" is curious: the song is entirely mono, except that it bounces toward right and then left channels at the vocal lines "[bounce] much for money [bounce] cause money can't buy me love". The mono mix used in the movie (based on the American Film Institute restored version of 1996) has the guitar mixed louder. The source of this mix is unknown, and it does not appear on disk. I Should Have known Better: The mono mix fades out a little faster than the stereo. The harmonica during the intro cuts out suddenly at one point (the fourth phrase) in stereo, but is fixed in the other two by edit: the mono mix repeats the third harmonica phrase, and the new stereo mix (SS.HDN.02.RS.Video) repeats the second phrase. In the home video A Hard Day's Night, the new stereo mix (SS.HDN.02.RS.Video) is used in the train scene but the old one with the harmonica mistake is used in the television show scene later, where it seems to match his movements. UK Parlophone PCS 7218 Reel Music 1982 uses the old stereo mix. Tell Me Why: Stereo has a noise at the very end edited off the others. The track on UAS 6366 is mono except that in the verses it shifts toward the left for the solo call (John solo) and toward the right for the response (group). If I Fell: Stereo has a double track John on the intro, unlike mono, with a slight lag in one track at the first word "if" and at "and" in "and I've found". Paul misses the high note the second time on the word "vain" ("our new love was in vain"), as heard in stereo, but corrected in mono by editing in the same word from the first time round (based on listening). United Artists has the intro toward the left but all the rest centered.

A Hard Days Night: In UA is mono, but shifts toward the left for Paul's solo vocal bridge ("when I'm home. . .") and toward the right for the instrumental break. When I Get Home: UK mono mix has a louder percussion crash at "whoa-ah". Any Time At All: The stereo separation shows the rhythm track fading up louder between vocal lines, as in stereo Can't buy me love, possibly leakage into the vocal microphones during live recording. The true stereo pressing of this song features two guitars on the left channel and a piano on the right. mono and simulated stereo contain only the two guitars. A Hard Days Night Stereo LP Original American tracks: A Hard Days Night: Mock Stereo from UK Mono Mix (United Artists) I Should Have Known Better: UK Mono Mix (United Artists) If I Fell: UK Stereo Mix (Something New) Im Happy Just To Dance With You: UK Stereo Mix (Something New) And I Love Her: UK Stereo Mix (Something New) Tell Me Why: UK Stereo Mix (Something New) Cant Buy Me Love: Mock Stereo from UK Mono Mix (United Artists) Any Time At All: UK Stereo Mix (Something New) Ill Cry Instead: UK Stereo Mix (Something New) Things We Said Today: UK Stereo Mix (Something New) When I Get Home: UK Stereo Mix (Something New) You Cant Do That: Mock Stereo from UK Mono Mix (Second) Ill Be Back: UK Stereo Mix (Beatles 65) The mixes in UA Soundtrack LPs are duophonic. PS A Hard Days Night [Spock CD]; A Hard Days Night [MFSL CD]; A Hard Day's Night MFSL 1 103 [Dr. Ebbets Sound System] AS Yeah! Yeah! Yeah! (Odeon CD) A Hard Days Night LP Other Mixes and related SS.HDN.05.RM.US And I Love Her US Mono Mix

The "United Artists mix" has a single track vocal (with harmonies), while the others have double track most of the way. the start of Paul's humming after the last lyrics isa barely audible. The instruments were recorded flat with a slight amount of reverb added to enhance the overall sound. PS Something New (mono) T 2108 [Dr. Ebbetts Sound System] AS Something New Deluxe [Horsehoe CD]; Every Little Thing Vol.1 Disc 1 Track 5 SS.HDN.05.RS.US And I Love Her Extended Ending Stereo Mix

The "German stereo version" has six guitar riffs at the end instead of only four. It seems to have been made by editing in repeats, rather than being an untrimmed version, although for what purpose is unknown. It also has the guitar softer on left, but this seems to be a balancing error, not a different mix, since the centered vocal is also pulled a little to right, as it would be if the balance were off.

PS Rarities SHAL 12060 [Dr. Ebbetts Sound System] AS The Worlds Best; Collection Of Oldies [Another Phase Box CD]; Every Little Thing Vol.1 Disc 1 Track 5 SS.HDN.07.ANT Cant Buy Me Love Anthology Mono Mix

PS Anthology I Disc 2 Track 8 SS.HDN.07.RS93 Cant Buy Me Love Stereo Mix For 62-66 CD

PS 1962 1966 CD SS.HDN.02.RS.Video I Should Have Known Better Video Stereo Mix

PS Reel Music SV 12199 [Dr. Ebbetts Sound System] AS Its All In The Mind You Know; The Worlds Best; Every Little Thing Vol.1 Disc 2 Track 23 SS.HDN.06.RM.Film Tell Me Why Film Mono Mix

The original filmprint of A Hard Day's Night has a different mono mix undocumented by Lewisohn, probably March 3, with the doubletrack vocal mixed differently, noticeably on "well I'm beggin' on my bended knees, if you'll only listen to my pleas". PS Vinyl To The Core Disc 1 Track 21 SS.HDN.01.Ext.Guitar A Hard Days Night Mono Extended Ending Guitar

Mono also used in the original film print of A Hard Day's Night. Has an extended ending, made by editing, in which the guitar figure at the end is heard 5 times instead of 3; this is actually heard only in the end title. Note that it is not on the older reel-to-reel tape release. PS Mythology SS.HDN.01.Ext.Vocal A Hard Days Night Extended Ending Vocal

Its gonna feel alright its heard five times instead of three. PS Every Little Thing Vol.1 Disc 1 Track 1 SS.HDN.01.Ext.Guitar A Hard Days Night Stereo Extended Ending Guitar

PS Its All In The Mind You Know SS.HDN.01.RS93 Cant Buy Me Love Stereo Mix For 62-66 CD

The centering of the vocal is better in this new stereo mix than the old one, where it is pulled a bit to the right PS 1962 1966 CD SS.HDN.09.RM.US Ill Cry Instead US Mono Mix

The mono mix used in the US is the "long version" that has an additional verse, verse 4, obviously edited in, which repeats the lyrics but not the same recording of verse 1. PS Something New (mono) T 2108 [Dr. Ebbetts Sound System]

AS Something New Deluxe [Horsehoe CD]; Every Little Thing Vol.1 Disc 2 Track 27 Notes In Every Little Thing Vol.1 Disc 2 Track 28 is the stereo version of this track appeared in Rarities Capitol album: This is a "long version" stereo mix made by editing the stereo mix was used in a montage of still photos that opened the 1982 theatrical reissue of the film A Hard Day's Night, as well as the subsequent home video release. It is a forgery of a nonexistent "complete" version because it edits in a repeat of the same recording of verse 1, not a different one. It's reported but not confirmed that this "long version" stereo mix is on late copies of the single, Capitol A6282, and it's on the bootleg LP "Casualties" of 1982. SS.HDN.13.RM.US Ill Be Back US Mono Mix

US mono runs slower than UK mono and has a little echo; UK mono has none. PS Beatles 65 (mono) T 2228 [Dr. Ebbetts Sound System] AS Vinyl To The Core Disc 1 Track 25; Every Little Thing Vol.3 Disc 1 Track 19 Notes In Every Little Thing Vol.1 Disc 2 Track 26 is the reprocessed stereo of this track appeared in Beatles 65 Capitol album: This Capitol's stereo version has an unusually large amount of added echo even for them, until late in the LP era (black label) when a new master was made with a version sounding like the UK version SS.HDN.11.RM.US When I Get Home US Mono Mix

US mono has the piano mixed louder than UK mono. The line "till I walk out that door" is doubletracked in US mono while only "out that door" is in both UK mixes. As heard on this mix, one of the vocals starts "till I" before the other, and the single vocal track used in the UK mixes is the one that starts later. PS Something New (mono) T 2108 [Dr. Ebbetts Sound System] AS Something New Deluxe [Horsehoe CD]; Every Little Thing Vol.2 Disc 2 Track 23 SS.HDN.08.RM.US Any Time At All US Mono Mix

US mono has the piano mixed way down compared to the others (it is not completely missing as some say), and the single drumbeat just before the chorus is either missing or way down so that we hear only what sounds like a thump on a guitar body. PS Something New (mono) T 2108 [Dr. Ebbetts Sound System] AS Something New Deluxe [Horsehoe CD]; Every Little Thing Vol.1 Disc 1 Track 8 Long Tall Sally EP SS.PM1.10.RM Long Tall Sally Mono Mix

Has echo added PS Long Tall Sally CD EP SS.PM1.10.RS Long Tall Sally Stereo Mix

Vocal centered PS Past Masters I Track 10 SS.PM1.10.RM.US Long Tall Sally US Mono Mix

Without echo PS The Beatles Second Album (mono) T 2080 [Dr. Ebbetts Sound System] AS Vinyl To The Core; Every Little Thing Vol.3 Disc 1 Track 23 SS.PM1.10.RS.US Long Tall Sally US Stereo Mix

vocal over to the right side PS The Beatles Second Album (stereo) ST 2080 [Dr. Ebbetts Sound System] AS Second Album / A Hard Days Night [Beat CD] Notes A mono made from this US Stereo mix appeared in Capitol T 6063 Long Tall Sally (1964). It will be available in Dr. Ebbetts Sound Systems soon (I hope!). SS.PM1.11.RM I Call Your Name Mono Mix

In the original intro as heard in mono the cowbell starts right away. The edit of the start of the solo comes just before that last line of vocal. The edit at the end of the solo is at the same place in all the versions, but there are slight variations in how well it was done. PS Long Tall Sally CD EP AS Every Little Thing Vol.1 Disc 2 Track 14 SS.PM1.11.RS I Call Your Name Stereo Mix

In this newer stereo mix, the edit comes after the first line ("I call your name, but you're not there"), so it has neither cowbell nor the second vocal track until that point. Has the vocal and cowbell centered. The edit into the solo comes after the vocal, evidenced by the cowbell through the words "I call your name" PS Past Masters I Track 11 AS Every Little Thing Vol.1 Disc 2 Track 15 SS.PM1.11.RM.US I Call Your Name US Mono Mix

In this older mono mix the edit into the solo comes after the vocal, evidenced by the cowbell through the words "I call your name" PS The Beatles Second Album (mono) T 2080 [Dr. Ebbetts Sound System] SS.PM1.11.RS.US I Call Your Name US Stereo Mix

This older stereo mix with the better guitar intro has no cowbell until the edit, which comes just before the vocal starts.Has the vocal over on the right. The edit of the start of the solo comes just before that last line of vocal PS The Beatles Second Album (stereo) ST 2080 [Dr. Ebbetts Sound System] AS Second Album / A Hard Days Night [Beat CD] SS.PM1.12.RM Slow Down Mono Mix

PS Long Tall Sally CD EP AS Every Little Thing Vol.2 Disc 2 Track 10

SS.PM1.12.RS Slow Down Stereo Mix

Stereo has the vocal and piano much louder (or one might say the rest is softer), and a cry "ow" is heard only in stereo just before the guitar at the end. The vocal has a doubletracking error at what should be "now you got a boyfriend down the street" in verse 2. This is heard less distinctly in mono, as if the bad track were mixed down at that point, but it is there, marking it as the same vocal and not different as reported elsewhere. The bad vocal track seems to have "girlfriend" for "boyfriend"-- however, on the BBC radio version (11 months earlier than this EMI recording) John sings "now you don't care a dime for me", which is possibly what is here too. PS Past Masters I Track 12 SS.PM1.13.RM Matchbox Mono Mix

This has generous reverb on the vocal, and stereo has more than mono. Ringo sings the last word of "your puppy dog runs" indistinctly in mono, but that is corrected by an edit or overdub in stereo. The guitar solo ends differently so at least one of the two has an edit there. PS Long Tall Sally CD EP AS Every Little Thing Vol.2 Disc 1 Track 11 SS.PM1.13.RS Matchbox Stereo Mix

PS Past Masters I Track 13 Beatles For Sale LP SS.BFS.01.demo No Reply Demo

PS Anthology I Disc 2 Track 20 SS.BFS.01.01 No Reply Tk1

PS Abbey Road Video Show Track 26 SS.BFS.01.02 No Reply Tk2

PS Anthology I Disc 2 Track 23 SS.BFS.02.01 Im A Loser Tk1 Disc 2 Track 6 The ominous voice fills the studio: "I'm A Loser, Take One." Paul begins with his count-in, "1, 2. . . 1, 2. . ." and the take starts. It quickly aborts after Paul explains to John that he's "stopping at 1, 2. . 'cause that's where you'll come in with the mouth organ." They begin Take One again after another Paul count-in. This second attempt at Take 1 quickly breaks down with Paul saying, "Stop. .I'd forgot. ." SS.BFS.02.02 Im A Loser Tk2 Disc 2 Track 6 Norman Smith again fills the air: "Two!" This take starts without a hitch. At this point in the song's evolution, the structure is different. The song begins with a bar of open acoustic guitar strumming, accompanied by some electric guitar chordal phrasing before John and Paul harmonize one time on the line "I'm A Loser." After singing the song's title one time, the song goes right into the verse. Paul, at this point, is attempting to harmonize on the line "And I'm Not What I appear to be." He is slightly out-of-synch with John, and perhaps, a little off-key at first. John also sings: "Behind this mask" instead of the familiar "Beneath this mask."

The break is void of mouth-organ at this point. A close listen reveals Paul mimicking the sound of an harmonica over the break. After the third stanza, John and Paul repeat the lines, "I'm A Loser" over again, with Paul adding a higher harmony on the line's third repetition. Almost complete, the take breaks down apparently because there was no determinative way of ending the song. After a couple of falsetto spurts from John (which ends the take) Paul proclaims, "Well, there's a frayed edge for you. . ." SS.BFS.02.03 Im A Loser Tk3 Disc 2 Track 7 Ringo: "Here we go, quiet. ." John: "Okay, George. ." As the instruments are readied for the start of Take 3, Paul prompts John as to how they will start singing the song, singing "I'm a Loser. .And I've lost someone. ." John continues singing the second line "I'm a Loser, and I'm not what da-da da-da-da. . ." Meanwhile, Ringo is attempting to silence the group so that they might continue: "Shh. .now. . .Shutup. ." John, ready now: "Okay." Take 3 starts off like the commercially releasd version, beginning with the harmonized line "I'm A loo-ooser." At this point, these lines are sung ever-so-slightly slower. This take is complete (assuming that a fade-out for the song was already determined). As the take ends, John announces: "It didn't work out the same because-" (at this point the session tape cuts out). SS.BFS.02.04 Im A Loser Tk4 Disc 2 Track 8 Paul discusses the harmony with John (referring to the singing of the line "And I'm Not what I appear to be. . .) "It's hard to get a good harmony. ." Ringo, particularly conscious of time during this session for some reason, is heard to say: "The light isn't on.." (referring to Number Two's famous 'red light'). A couple of get-ready guitar strums and a few "Shhs" fill the room. John is heard blowing into the mouth-organ for the first time briefly before the take begins. "Okay." Take 4 starts, again, with a slightly longer drag on the opening lines. The take breaks down as John reverses lines, singing "And I'm not what I appear to be" when he ought to have sung "And I've lost someone. . ." John: "Oh, sorry. . .sorry. ." SS.BFS.02.05 Im A Loser Tk5 Disc 2 Track 8 Paul begins a run-through of the bass line for the chorus, singing the harmony lines as John asks, "Can I play it there? Can you do it?" apparently wishing to either reposition himself or something else in the studio, "I'm just all uncomfy. . ." Paul, possibly referring to a stand holding lyric sheets (assuming there was one) asks John, "Can you see it there?" John: "Yeah, I'm only gonna be reminded of it (sic)." Another quick toot into the mouth organ and the take begins. It's a quick breadown, however, with an announcement from the booth. John: "Why?" George Martin: "Appear to be. Pop of the mic. . .aPPear to be. ." John: "Oh." SS.BFS.02.06 Im A Loser Tk6 Disc 2 Track 8 This take is complete. In this version, John sings: "I should have known I would lose in the end. . ." It is also the first take absent of Paul's harmony on the line "And I'm not what I appear to be.." Also a first is John's use of the mouth organ during the solo. This mouth organ bit was NOT overdubbed later, rather it was plyed live, hence John's remarks at the end of the take: "Ha. .I'm all wrapped up. ." SS.BFS.02.07 Im A Loser Tk7 Disc 2 Track 9 Some warm up and instrument fine-tuning precedes Take 7. John yelps out something, perhaps the second syllable of the word "loser," which Paul was screeching somewhat in the background.

John hecticly announces : "Ready. I'm Ready now!" while Paul continues singing "I'm a Loser!" in a mocking-type voice. After an announcement of "Take Seven," John twice asks George if he's ready. Again, the booth: "Se -VEN." John: "Are you?" There are a few more quick get-ready strums as Ringo announces, "Alright, we're rolling." Paul (apparently looking at Ringo): "Shhh." Ringo: "I'm not doing a thing. . ." The take breaks down again because of the popping "p" on John's microphone. John: "Yeah?" Martin: "We'll put a spit-screen on him." After a moment, George Martin begins to sound rather like a school-master: "Now then, uh, have you suddenly turned your bass level up, Paul?" "No, I haven't." "I see. . ." SS.BFS.02.08 Im A Loser Pre-Chat + announcement of Tk8 Disc 2 Track 9 Perhaps, John's remarks prior to this take was an indication that this would, indeed, be the version used for commercial release: "Okay, let's go. Let's get outta here." PS The Ultimate Collection Vol.3 SS.BFS.06.01.Call Mr. Moonlight Call for Tk1

PS Abbey Road Video Show Track 26 SS.BFS.06.01.Anth Mr. Moonlight Tk1+Tk4 Anthology Edit

PS Anthology I Disc 2 Track 21 SS.BFS.06.01.T2 Mr. Moonlight Tk2

PS Abbey Road Video Show Track 26 SS.BFS.06.01.T4 Mr. Moonlight Tk4

PS Mythology Vol.2 Disk1 Track 17 AS Turn Me On Dead Man SS.BFS.07.02 Kansas City / Hey Hey Hey Hey Tk2

PS Anthology I Disc 2 Track 26 SS.BFS.08.01 Eight Days A Week Tk1 (incomplete) Disc 2 Track 24 SS.BFS.08.02 Eight Days A Week Tk2 (incomplete) Disc 2 Track 24 SS.BFS.08.04 Eight Days A Week Tk4 (incomplete) Disc 2 Track 24 SS.BFS.08.05 Eight Days A Week Tk5 Disc 2 Track 25

PS Anthology I SS.BFS.13.05 What Youre Doing End Of Unknown Take

PS Abbey Road Video Show Track 26

SS.BFS.13.11 What Youre Doing Tk11

PS Mythology Vol.2 Disk1 Track 16 AS Turn Me On Dead Man SS.ETC.07.05.Fs Leave My Kitten Alone False Start

PS From Me To You CD Track 14 AS Artifacts II SS.ETC.07.05 Leave My Kitten Alone Mono With Stereo Echo

PS Ultra Rare Trax Vol.2 Track 9 SS.ETC.07.05.Ses Leave My Kitten Alone RM Sessions

PS Anthology I Disc 2 Track 22 SS.ETC.07.05.JB Leave My Kitten Alone RM82

PS Another SessionsPlus Beatles For Sale Mono LP Original American tracks: No Reply: UK Mono Mix (Beatles 65) Im A Loser: UK Mono Mix (Beatles 65) Babys In Black: UK Mono Mix (Beatles 65) Rock And Roll Music: UK Mono Mix (Beatles 65) Ill Follow the Sun: UK Mono Mix (Beatles 65) Mr. Moonlight: UK Mono Mix (Beatles 65) Kansas City / Hey Hey Hey Hey: UK Mono Mix (Beatles VI) Eight Days A Week: UK Mono Mix (Beatles VI) Words Of Love: UK Mono Mix (Beatles VI) Honey Dont: UK Mono Mix (Beatles 65) Every Little Thing: UK Mono Mix (Beatles VI) I Dont Want To Spoil The Party: UK Mono Mix (Beatles VI) What You Are Doing: UK Mono Mix (Beatles VI) Everybodys Trying To Be My Baby: UK Mono Mix (Beatles 65) PS Beatles For Sale CD Notes Im A Loser: The stereo mix has the lead guitar mixed louder. I Dont Want To Spoil The Party: Stereo has a cry "woo" before the instrumental break, not in mono, and the guitar is mixed louder.

No Reply: A minor double track difference shows that decisions were made at mix stage: in "in my place" the first time, the mono mix has doubletrack on "place" while stereo has it on "my place". The stereo mix also reveals a cough after "your window" near the beginning. Kansas City / Hey Hey Hey Hey: Mono fades a little earlier Mr. Moonlight: Mono fades a little earlier Ill Follow The Sun: The stereo mix has more reverb than the mono. Words Of Love: Mono is nine seconds longer in fade out. What You Are Doing: Stereo has a handclap in the intro missing in mono, and the drum and rhythm track is mixed softer. Beatles For Sale Stereo LP Original American tracks: No Reply: UK Stereo Mix (Beatles 65) Im A Loser: UK Stereo Mix (Beatles 65) Babys In Black: UK Stereo Mix (Beatles 65) Rock And Roll Music: UK Stereo Mix (Beatles 65) Ill Follow the Sun: UK Stereo Mix (Beatles 65) Mr. Moonlight: UK Stereo Mix (Beatles 65) Kansas City / Hey Hey Hey Hey: UK Stereo Mix (Beatles VI) Eight Days A Week: UK Stereo Mix (Beatles VI) Words Of Love: UK Stereo Mix (Beatles VI) Honey Dont: UK Stereo Mix (Beatles 65) Every Little Thing: UK Stereo Mix (Beatles VI) I Dont Want To Spoil The Party: UK Stereo Mix (Beatles VI) What You Are Doing: UK Stereo Mix (Beatles VI) Everybodys Trying To Be My Baby: UK Stereo Mix (Beatles 65) PS Beatles For Sale [Spock CD]; Beatles For Sale [MFSL CD]; Beatles For Sale MFSL 1 104 [Dr. Ebbetts Sound System] AS Beatles For Sale (Odeon CD) Beatles For Sale LP Outtakes and related SS.BFS.02.RS.JB Im A Loser RS82

PS The Abbey Road Video Show AS Turn Me On Dead Man SS.BFS.08.RS.93 Eight Days A Week RS93 for 62-66 CD

This remix sounds identical to the old stereo version but was reportedly redone for CD. PS 1962 1966 CD

I Feel Fine / Shes A Woman SP SS.PM1.14.01 I Feel Fine Tk1 Disc 2 Track 13

This recording session would produce what would be the Beatles eighth single for Parlophone, and arguably their best to date. I Feel Fine, a John Lennon composition, holds the distinction, at least according to Lennon himself, as being the first record to make deliberate use of the dreaded phenomenon known as feedback. From the beginning, the song adorned its distinctive feedback introduction, achieved by Paul plucking the A note on his bass with John picking up the feedback through his guitar. This first take is played in a different key from the released version, in the key of A at this point, a whole tone higher than the commercially released version in G. This take features a raw Lennon vocal that, although rough in places, is still interesting to hear. The overall playing is choppy, almost sloppy in places. The take breaks down at the solo break. SS.PM1.14.02 I Feel Fine Tk2 Disc 2 Track 13 The Beatles' producer George Martin reminds the boys that the tape is still rolling. John asks, "Did it sound too strange, singing it?" After some last minute adjustments, take two begins. This time, the Beatles are in the correct key, and John does not appear to be straining as much on the vocal. Yet, as with the previous attempt, this take breaks down, this time towards the end of the solo break. John: "Wha?" George Martin: "I didn't say anything. Did you down there?" SS.PM1.14.05 I Feel Fine Tk5 Disc 2 Track 14 By this take, the fifth one, the guitar phrasing is cleaner. John is again delivering his vocal, but it is growing clear that playing such an involved guitar line while singing may not the best thing. Lennon's vocal phrasings are at times limited. Overdubbing onto a completed backing track may be best. This take is nearly complete, abruptly cutting off at the ending. SS.PM1.14.06 I Feel Fine Tk6 Disc 2 Track 15 The session tape has George Harrison, curiously enough, doing a double-speed run through of the She's A Woman guitar solo as Ringo Starr announces: "Right-e-o!" This take is complete, and void of vocals. The Beatles are almost there. SS.PM1.14.09 I Feel Fine Rough Mix T9 Disc 2 Track 16 Again, this is the overdub of vocals and lead guitar on Take Seven. At the song's very end, The Beatles are heard making noises akin to dogs barking. Some of this can be heard at the song's fade out on the commercially released version. PS The Ultimate Collection Vol.3 SS.PM1.14.Fs/08 I Feel Fine False Start or Tk8

PS Vinyl To The Core Disc 1 Track 35 SS.PM1.14.RM I Feel Fine Mono Mix

PS I Feel Fine / Shes A Woman CD SP SS.PM1.14.RM.US I Feel Fine US Mono Mix

US mono has an enormous reverb effect that may have been done by Capitol. The mock stereo made from it really stands out as the most distorted Beatles cut Capitol ever created PS Beatles '65 (mono) T 2228 [Dr. Ebbetts Sound System]

AS Some Have Gone Some Remains; Every Little Thing Vol.1 Disc 2 Track 19 SS.PM1.14.RM.GE I Feel Fine Germany Mock Stereo Mix

German mock stereo. Fades a little longer than UK mono mix and is the longest fade of any mix PS Every Little Thing Vol.1 Disc 2 Track 18 SS.PM1.14.RSa I Feel Fine Stereo Mix

All versions have Paul barking like a dog at the very end of the fade, which is a bit easier to hear in stereo PS Past Masters I Track 14 SS.PM1.14.RSb I Feel Fine Stereo Mix Untrimmed

This stereo mix starts with a second or so of whispering and tapping before the usual opening. The Past Masters mix is a "trimmed" version without the whispering; the trimming may be local to each release. The open-microphone sounds at the opening (whispers, snaredrum resonating (?)) are clearer on CD. PS The Worlds Best AS Alternate masters; Every Little Thing Vol.1 Disc 2 Track 17 SS.PM1.15.01 Shes A Woman Tk1

PS The Abbey Road Video Show Track 10 SS.PM1.15.02 Shes A Woman Tk2 Disc 2 Track 10

This is the second take of a new Paul McCartney song, destined to share space on the next Beatles' single. Beatles' producer George Martin announces that this is, indeed, the second take as the band does a practice run of the song's intro. Paul: "Okay?" John: "Okay." The take begins. During the second stanza, Ringo changes hi-hat patterns, mid-verse. Paul starts to laugh on the line "Only ever has to give me, love forever and forver. ." after a slight vocal strain on the word "love." At this point, there is no solo. The chord sequences become a little sloppier after the solo break, the Beatles perhaps realizing that this, in fact, would NOT be the final take. The song's ending has obviously not been worked out completely at this point as the fluency is hesitant and unsure. SS.PM1.15.03 Shes A Woman Tk3 Disc 2 Track 11 SS.PM1.15.04 Shes A Woman Tk4 Disc 2 Track 11 A quick halt to take three after a guitar is found to be out of tune. The problem is quickly corrected. From the top again, and a quickly aborted take as the introduction of the drums after the first two bars is illtimed. In Take Five: After the first verse, an attempt on guitar at sliding up, possibly to the V chord in the pattern, produces rather sloppy results. Paul, perhaps thrown off a bit by this, sings, "She no -n't give boys the eye. ." As the song trudges on ahead to the solo, there is some confusion as to exact chord sequences. More than a few times, bass and guitar are off in different areas. SS.PM1.15.07 Shes A Woman Tk7 Disc 2 Track 12

In technical terms, there are actually two take sevens, only because no announcement was made by the booth after an immediate halt of the first attempt. The opening guitar phrase is played slightly different, with an enlongated voicing of the first strum in each double-strummed sequence. This take quickly ends, and a second take seven is attempted. Again, as in take five, there seems to be slight confusion over the exact chord sequence, this time at the intro. The entire take lasts well over six minutes as the ending evolves into a sort-of free-flowing jam session. Paul shouts out variations of the line "She's a woman" as well as selected screams for good measure. The guitar playing becomes off-key and hectic, with occassional bursts of chromatic slides and twangy lead phrasings. The basic 12-bar pattern is more or less followed, but it is clearly without definitive structure in places. It all amounts to a bit of fun. As the jam ends, Ringo declares, "Well, we got a song and an instrumental there. ." John: "Aye, you know what happened. . .half way through it, I dropped me pleck. . ." PS The Ultimate Collection Vol.3 SS.PM1.15.RM Shes A Woman Mono Mix

PS I Feel Fine / Shes A Woman CD SP SS.PM1.15.RM.US Shes A Woman US Mono Mix

UK mono and stereo have a slightly longer fade, "she's a woman" 5 times, against 3 on US mono. UK mono has no echo on the vocal, while US mono has echo on everything that was probably added by Capitol. US mono also seems to have less piano than but the echo may just be drowning it. The mock stereo conversion from it is muddy. PS Beatles '65 (mono) T 2228 [Dr. Ebbetts Sound System] AS Some Have Gone Some Remains; Every Little Thing Vol.2 Disc 2 Track 7 Notes In Every Little Thing Vol.2 Disc 2 Track 6 is the reprocessed stereo version of this mix. SS.PM1.15.RS Shes A Woman Stereo Mix

Stereo, also without the echo, seems to have gone missing in the vaults for a while after being copied for Australia in 1967, as it was not used for the Parlophone Rarities LP, but it was found for the CD release. PS Past Masters 1 Track 15 SS.PM1.15.RS.Untrim Shes A Woman Stereo Mix With Count-In

This "untrimmed stereo mix" is the same UK stereo mix with a countdown at the start, from a master reel. PS The Beatles CD EP AS Every Little Thing Vol.2 Disc 2 Track 5 Ticket To Ride / Yes It Is SP SS.HLP.07.Rough Ticket To Ride Tk2 Track 10

PS Ultra Rare trax Vol.3 AS Help Sessions CD

SS.HLP.07.RM.Film Ticket To Ride Film Mono Mix

PS Help! Original Mix Disc 2 Track 34 SS.HLP.07.RM.Prod Ticket To Ride Production Acetate

PS Help! Original Mix Disc 2 Track 5 SS.HLP.07.RS.Promo Ticket To Ride Promo Stereo Mix

PS Diyologi Vol.1 [S. Laserdisc] SS.HLP.07.RM Ticket To Ride Mono Mix

PS see Help Mono LP SS.HLP.07.RS Ticket To Ride Stereo Mix

PS see Help Stereo LP Notes In Every Little Thing Vol.2 Disc 2 Track 18 theres a bandit oddity with the german A Collection Of Beatles Oldies where a bit of george's opening guitar riff is missing SS.HLP.07.RS.CD Ticket To Ride CD Stereo Mix

PS see Help Stereo LP SS.PM1.17.01 Yes It Is Tk1 Disc 3 Track 1

The sound of a tone pedal fills Number Two. Work is about to begin on the song destined to be the Beatles next B-Side, Yes It Is. John Lennon, the song's composer, starts his count-in, but doesn't get past "One." A high squeal from George Harrison's tone pedal temporarily halts the proceedings. Meanwhile, Paul McCartney discusses with Ringo how the high-hat ought to be tapped. John, again, attempts to get things started, but this try, too, doesn't go: "One. . .One. .um-m-mah-muh. . ." After a moment, things settle down, and take one finally is underway. The basic instrumentation has John strumming his acoustic guitar, Paul on bass, Ringo playing lightly on drums, and George handling the tone pedal and guitar. John delivers a guide vocal, almost mumbling at times, but at this point loud enough to hear fairly clearly. The overall take has the feel of a rehearsal more than anything else, complete with Lennon "na-na-nas" and the occassional send-up voice. Interesting to note at this point is the difference in the structure of the song's ending. There are multiple repeats of the line "Yes it is, its true" suggesting perhaps that the ending had not quite been worked out completely. SS.PM1.17.02 Yes It Is Tk2 Disc 3 Track 2 Beatle chatter precedes another Lennon count-in. This take, too, features a soft Lennon guide vocal. However, this attempt cuts short after the sound of a "pop." John: "String broke. . .Did you hear it?" SS.PM1.17.03 Yes It Is Tk3 Disc 3 Track 2 With tongue firmly in cheek (One can almost picture Lennon walking past a camera, pulling his classic tongue-in-cheek face) John says, "Ret's go now. . ."

After the count-in, the take breaks down almost immediately with an announcement from the voice above, "Start again. . ." SS.PM1.17.04 Yes It Is Tk4 Disc 3 Track 2 The fourth attempt is, as with the two previous tries, an unsuccessful one. Lennon's vocals are softer as the take begins, but alas, another quick breakdown puts a stop to things. Soon after, Paul is heard on the session tape consulting John on what appears to be a timing matter. John replies, "That's in between the verses, instead of going straight on to d-da-d-d-da- de-da. . .goes (demonstrating). . .that's all." SS.PM1.17.05 Yes It Is Tk5 Disc 3 Track 2 John Lennon counts in, "One. .Two. .Three. .Bread." The pattern of a quick breakdown continues with Take five. John: "Oh, sorry. I was wrong." As John attempts to count-in for the next take, George Martin puts a pause on things momentarily, presumably to get things ready up in the big room above. John queries, "Yes?" After a moment, Martin replies, "Alright, here we go. . ." Norman Smith incorrectly announces, "Five." As John counts in, Smith interjects a quick correction, "Six!" SS.PM1.17.06 Yes It Is Tk6 Disc 3 Track 2 Tradition continues. There is an immediate breakdown. John comments, "That was wrong." SS.PM1.17.07 Yes It Is Tk7 Disc 3 Track 2 An immediate count-in from the song's author kicks off the seventh go. John's vocal is much quieter. Things are getting better as the band makes it through the first verse without major incident, but alas, the take does break down, this time during the song's middle-eight. Paul is heard shouting something, though not particularly seriously, presumably because he lost his way during that section of the song. SS.PM1.17.08 Yes It Is Tk8 Disc 3 Track 3 SS.PM1.17.10 Yes It Is Tk10 Disc 3 Track 4 It seems like old times, as the this take breaks down during the first stanza. John counts in again, but unlike the previous take, he did not exclude the "four" from his count-in to allow Paul and George to come in on their respective instruments. The previous take was the first time John had counted in this way. This time he had simply forgotten, "Sorry. . . sorry. . ." They attempt to restart the song, this time the take being "Eleven," but it quickly breaks down. SS.PM1.17.14 Yes It Is Tk14 Disc 3 Track 4 It is this version that is used for the overdubbing of the exquisite three part harmony sung by John, Paul and George. PS The Ultimate Collection Vol.3 SS.PM1.17.RM.Prod Yes It Is Production Acetate

PS Help! Original Mix SS.PM1.17.RS.Anth Yes It Is Anthology Mix

PS Anthology 2 Disc 1 Track 2

SS.PM1.17.RM Yes It Is Mono Mix

PS Ticket To Ride / Yes It Is CD SP SS.PM1.17.RS Yes It Is Stereo Mix

The stereo mix must have been well hidden away, not used in 1977 or 1979 for collections. It first appeared on a promotional offer tape from Heineken Beer in 1986, available by mail order for a few weeks. It has a dropout (a tape defect) in verse 1 on the word "I" in "remember what I said tonight", and an extra tone-pedal note under the first word "if". PS Past Masters 1 Track 17 Notes Theres a simulated stereo version in Every Little Thing Vol.2 Disc 2 Track 29. Another simulated stereo derived from this simulated stereo (same as This Boy again!!) for Love Songs LP is in Vol.3 Disc 2 Track 26. Help! LP Outtakes SS.HLP.01.01 Help! Tk1 Disc 3 Track 5

This first attempt at the backing track of John Lennon's newest song breaks down early. George Harrison's decending guitar phrases are tense. SS.HLP.01.02 Help! Tk2 Disc 3 Track 5 Again, George's guitar is a little tense and a tad sloppy. Lennon's playing of the acoustic guitar is, too, a little rough. A first verse break down. SS.HLP.01.03 Help! Tk3 Disc 3 Track 5 George's phrasings are a little better the first time around, but the take breaks down after the first chorus, his playing of the phrase a little off again. Ringo also plays an incorrect hi-hat pattern. John: "What?" George Martin: "The first one was fine, George. The last one . . ." George Harrison: "Yeah. . ." Martin: "Would it be safer to overdub?" Harrison: "I don't think so, no. 'Cause it's just that its so fast." Martin: "Take it again." George (to Paul): "We want to double-track the voices, don't we? I'll have to double-track singing it. I'll have to do this bit singing it, which is gonna be even harder still." Paul: "No, we've got two voice tracks. ." SS.HLP.01.04 Help! Tk4 Track 12 The discussion continues. Paul, referring to the section where George's guitar phrase comes in suggests, "Tap a beat. ." (demonstrating) John comments that he's already doing so on his acoustic guitar. Paul: "Yeah, but it would be something you could hear on the track." John: "Well, I do that." After a little more discussion between Paul and George, John finally interjects, "Oh, come on. . ." Another unsatisfactory attempt. SS.HLP.01.05 Help! Tk5 Disc 3 Track 6 SS.HLP.01.06 Help! Tk6 Disc 3 Track 7 A little bit of warm up precedes this complete take. This take is absent of George's guitar part.

The studio tape suggests that John's guitar may be out of tune. He strums his guitar a few times, presumably listening for sour resonance. George: "Out of tune?" The take kicks off, but breaks down quickly. John then begins a mini-session of string tuning. The session tape cuts off as he lets out a laugh of frustration. SS.HLP.01.07 Help! Tk7 Disc 3 Track 7 SS.HLP.01.08 Help! Tk8 Disc 3 Track 8 SS.HLP.01.09 Help! Tk9 Disc 3 Track 8 This take is complete, but not quite right yet. A quick breakdown. This take is the one used for the overdubbing of vocals and eventually George's guitar. When these vocals are overdubbed, this take is not renumbered Take 10. It remains Take 9 at this point. It is interesting to point out that at this stage, John also recorded a second vocal (presumably for the purpose of double- tracking his vocal part). SS.HLP.01.10 Help! Tk10 Disc 3 Track 9 Mark Lewisohn references this take as "complete." While this is absolutely true, perhaps some clarification is in order. This take is a reduction mix of Tape 9, used to open up track space needed for George's overdub of guitars. It can be assumed that this mix was properly executed in its first attempt, hence the take being deemed "complete." It can also be assumed that John's second track of vocals were also left in tact during the track reduction mix, especially in view of the following take. SS.HLP.01.11 Help! Tk11 Disc 3 Track 10 This take, according to Mr. Lewisohn, is a "false start." This, of course, is true. However, the false start comes not from the band, but from the control booth. A listen to the session tape reveals that whoever was in charge of the tape playback accidentally let John's double-tracked vocal play back. While not etched in concrete, one can assume that this was the reason for the quick stop. (This raises an interesting point to ponder. If John's second vocal did occupy its own track on the four track tape at this point, could it not simply have been muted once it was realized that it was being played back? This should have had no effect on Also, one has to assume that because this second vocal track was preserved during the reduction mix, that there still must have been some inclination on someone's part to use them in some capacity. If not, they simply could have been wiped clean, and George's guitar could have been recorded on that track.) SS.HLP.01.12 Help! Tk12 Disc 3 Track 10 SS.HLP.01.Unk Help! TkUnk Disc 3 Track 11 This take was used for overdubs of George's guitar parts.

PS The Ultimate collection Vol.3 except 04: The Abbey Road Video Show SS.HLP.03.01 Youve Got To Hide Your Love Away Tk1 SS.HLP.03.05 Youve Got To Hide Your Love Away Tk5

PS Anthology 2 Disc 1 Track 4 SS.HLP.09.02 Its Only Love Tk2 SS.HLP.09.03 Its Only Love Tk3

PS Anthology 2 Disc 1 Track 8

SS.HLP.13.01 Yesterday Tk1

PS Anthology 2 Disc 1 Track 7 SS.PM1.18.01 Im Down Tk1

PS Anthology 2 Disc 1 Track 3 SS.ETC.08.RM If Youve Got Trouble Mono Mix

PS Beat + Sessions (Odeon CD) SS.ETC.08.RS If Youve Got Trouble Stereo Mix

PS Another SessionsPlus SS.ETC.08.RS.Anth If Youve Got Trouble Anthology Stereo Mix

PS Anthology 2 Disc 1 Track 5 SS.ETC.09.01 That Means A Lot Tk1 SS.ETC.09.Reh That Means A Lot Rehearsal SS.ETC.09.20 That Means A Lot Tk20 SS.ETC.09.21 That Means A Lot Tk21 SS.ETC.09.23 That Means A Lot Tk23 SS.ETC.09.24 That Means A Lot Tk24 SS.ETC.09.Test That Means A Lot Test

PS Turn Me On Dead Man YN More Masters for more 30 seconds in a 01 abrupt ending, and for some pre-song chatter for reh SS.ETC.09.RM.Sess That Means A Lot Mono Mix

PS Anthology 2 Disc 1 Track 6 Help Mono LP Original American tracks: Help!: The original UK mono appeared in a Capitol 5476 SP and Capitol SHAL-12060 Rarities. In LP was Mono from UK Stereo Mix (Capitol Help!) The Night Before: Mono from UK Stereo Mix (Capitol Help!) Youve Got To Hide Your Love Away: Mono from UK Stereo Mix (Capitol Help!) I Need You: Mono from UK Stereo Mix (Capitol Help!) Another Girl: Mono from UK Stereo Mix (Capitol Help!) Youre Going To Lose That Girl: Mono from UK Stereo Mix (Capitol Help!) Ticket To Ride: UK Mono Mix (Capitol Help!)

Act Naturally: UK Mono Mix (Yesterday & Today) Its Only Love: UK Mono Mix (Capitol Rubber Soul) You Like Me Too Much: UK Mono Mix (Beatles VI) Tell Me What You See: UK Mono Mix (Beatles VI) Ive Just Seen A Face: UK Mono Mix (Capitol Rubber Soul) Yesterday: UK Mono Mix (Yesterday & Today) Dizzy Miss Lizzie: UK Mono Mix (Beatles VI) PS Help! (mono) PMC 1255 [Dr. Ebbetts Sound System] AS Help! Mono (Odeon CD) Notes Ticket To Ride: Mono has some added reverb and is less sharp on Capitol's releases. The stereo versions fade a little longer than mono. In stereo LP the whole track has been given a bass boost to make up for poor bass guitar sound, or at least on the Parlophone LP it has. The bass guitar guitar has better presence in stereo CD but the rest is less bassy and the vocal sounds sharper. Another Girl: The main rhythm track is mixed quieter in mono than in stereo You Like Me Too Much: The CD reproduction of stereo CD is so clear that a click can be heard where they turn off the Leslie speaker for the piano after the intro! This is probably on the other mixes also. Youve Got To Hide Your Love Away: Mono has a little reverb missing on the dryer stereo LP. Tell Me What You See: This is practically a 2-track recording from the sound of it-- the right stereo channel in stereo LP and stereo CD has only a piano overdub in a few places. Youre Going To Lose That Girl: Capitol's release of the UK stereo has a sound at the very beginning that is missing in the others, possibly the extreme end of the countdown as heard in the film's soundtrack, if that is authentically part of the recording. Help: The mono mix has a different lead vocal from the one on the two stereo mixes (LP and CD). John's voice is rougher all through the mono vocal. The stereo mixes also have a tambourine during the chorus that is not heard in mono. Two examples of differences in the vocal in verse 1: the mono vocal has "and now these days" while the stereo vocal has "but now these days"; on the line "I've changed my mind" the mono vocal has the words evenly while the stereo has them run together. A mnemonic is that "I've opened up the doorS" ending S appears in Stereo and "door" in mono. Lewisohn has commented that these are different mixes of the same recording. Bootlegs of the session tapes, if they are mixed honestly, show that take 9 has at least 3 tracks used for (1) bass and drums, (2) rhythm guitar and (3) vocals (the stereo mix vocals). Take 10 is the same with new vocals on the intro. Take 12 is 10 with lead guitar added. This uses up 4 tracks with no place for the mono mix vocals to exist on the same tape. It seems like there must be another 4-track master with the mono vocals on it. The intro on mono therefore appears to belong to the "stereo vocal" take. In fact mono may have a mono reduction of stereo LP edited to it as the intro; the mono and stereo mixes were made the same day. But then why the different vocal track all the way on stereo LP? Error, or avoiding an edit on the "less important" stereo mix? On the Capitol albums MAS 2386 and SMAS 2386, and on (US) Apple SKBO-3403, the song is preceded by a short instrumental version of the James Bond Theme, or something similar to it, which is banded as if part of the song but separated by a pause. This is not part of the song and not the Beatles. Dizzy Miss Lizzie: Mono mix fades a little earlier. Stereo CD has a lot of reverb added to the vocal, making it the most variant of the CD remixes for this album.

Ive Just Seen A Face: A voice can just be heard in the decay at the end of the song in mono but not in both Stereo LP and CD. The new mix for the CD has reverb not found in the mono or the original stereo LP. Capitol added an unusual amount of echo to the mono mix. Yesterday: The mono shows an echo effect in the first bridge on "thing wrong, now I long for yesterday", nowhere else, which also sounds somewhat different from the rest of the vocal in stereo LP and stereo CD. George Martin has said this song has no doubletracking but does have leakage from studio speakers (at an unspecified point). A squeak--a bow accidentally touching a violin?-- is heard in verse 1 before the quartet start to play, at left between "I believe" and "in yesterday", in both stereo mixes, but is not audible in mono. A second accident, a plink during the decay at the very end, is heard in mono mix and stereo LP but not in stereo CD. Its Only Love: Double track on the first "It's only love" line sounds different in stereo CD; it appears to have been "fixed" by splicing from the second chorus. Help Stereo LP Original American tracks: Help!: UK Stereo Mix (Capitol Help!) The Night Before: UK Stereo Mix (Capitol Help!) Youve Got To Hide Your Love Away: UK Stereo Mix (Capitol Help!) I Need You: UK Stereo Mix (Capitol Help!) Another Girl: UK Stereo Mix (Capitol Help!) Youre Going To Lose That Girl: Untrimmed UK Stereo Mix (Capitol Help!) Ticket To Ride: Mock Stereo from UK Mono Mix (Capitol Help!) Act Naturally: UK Stereo Mix (Yesterday & Today) Its Only Love: UK Stereo Mix (Capitol Rubber Soul) You Like Me Too Much: UK Stereo Mix (Beatles VI) Tell Me What You See: UK Stereo Mix (Beatles VI) Ive Just Seen A Face: UK Stereo Mix (Capitol Rubber Soul) Yesterday: UK Stereo Mix (Yesterday & Today) Dizzy Miss Lizzie: UK Stereo Mix (Beatles VI) PS Help! [MFSL CD]; Help! MFSL 1 105 [Dr. Ebbetts Sound System] AS Help / Rubber Soul [OMR CD] Help Stereo CD PS Help! CD Help LP Other mixes and related SS.HLP.01.RM.Prod Help! Production Acetate Disc 2 Track 31 SS.HLP.01.RM.Film Help! Film Mono Mix Disc 2 Track 4

The original film print of Help! has a mono mix made April 18 using the same vocal as the June 18 mono mix, and with no tambourine. It has a different intro, however, not as clear as the one used on all mixes on disk.

PS Help! Original Mix AS RM.Film: Every Little Thing Vol.3 Disc 1 Track 13 SS.HLP.01.RS.Promo Help! Promo Stereo Mix Track 14

PS Video I SS.HLP.05.RM.Prod Another Girl Production Acetate Track 28

PS Help! Sessions SS.HLP.02.RM.Prod The Night Before Production Acetate

PS Help! Original Mix Disc 2 Track 32 SS.HLP.02.RM.Film The Night Before Film Mono Mix

PS Vinyl To The Core Disc 2 Track 2 SS.HLP.03.RM.Prod Youve Got To Hide Your Love Away Production Acetate

PS Help! Sessions Track 27 OS Help! Original Mix (inferior sound quality) SS.HLP.06.RM.Prod Youre Going To Lose That Girl Production Acetate

PS Help! Sessions Track 29 SS.HLP.06.RM.Film Youre Going To Lose That Girl Film Mono Mix

PS Vinyl To The Core Disc 2 Track 3 AS Every Little Thing Vol.3 Disc 2 Track 27 SS.HLP.06.RS.Untr Youre Going To Lose That Girl Untrimmed UK Stereo Mix

PS Help! (stereo) SMAS 2386 [Dr. Ebbetts Sound System] SS.HLP.04.RM.Prod I Need You Production Acetate

PS Help! Original Mix Disc 2 Track 33 SS.HLP.04.RM.Film I Need You Film Mono Mix

PS Vinyl To The Core Disc 2 Track 1 SS.HLP.10.RM.Prod You Like Me Too Much Production Acetate

PS Help! Original Mix Disc 2 Track 35 SS.PM1.18.RM Im Down Mono Mix

PS Help! / Im Down CD SP AS Help! Mono (Odeon CD); Every Little Thing Vol.2 Disc 1 Track 2 SS.PM1.18.RS Im Down Stereo Mix

During the guitar break in stereo, a second, different lead guitar can just be heard as a leak or echo on the mostly silent right channel. Some accounts refer to an "alternate" stereo mix from Japan with two lead guitars, but a tape (allegedly) of that shows it to be the usual stereo version. PS Past Masters I Track 18 SS.PM1.16.RM Bad Boy Mono Mix

The mono version is heavily compressed with bass and drums mixed more up front. PS A Collection Of Beatles Oldies (mono) PMC 7027 [Dr. Ebbets Sound System] AS Beatles VI (mono) T 2358 [Dr. Ebbets Sound System]; Alternate Masters [CD]; Help! Mono [Odeon CD]; Every Little Thing Vol.1 Disc 1 Track 11 SS.PM1.16.RS Bad Boy Stereo Mix

The stereo version has the rhythm section mixed softer in relation to john's vocal and george's lead guitar PS Past Masters I Track 16 Rubber Soul LP Outtakes SS.RS.02.01 Norwegian Wood Tk1 Disc 1 Track 21

PS Turn Me On Dead Man SS.RS.02.RS.JB Norwegian Wood RS82(Tk1) Track 18

PS Another SessionsPlus SS.RS.02.02 Norwegian Wood Tk2 Disc 1 Track 22

PS Turn Me On Dead Man YN More Masters for a rehearsal before take announcement SS.RS.02.04 Norwegian Wood Tk4 Track 12

PS Ultra Rare Trax Vol.2 YN More Masters for a couple of seconds at the end SS.RS.11.RM.Alt In My Life Alt. Keyboard Solo (Outfake?)

PS From Me To You Track 16 SS.RS.14.01.Chat Run For Your Life Tk1 Announcement + Chat

PS The Ultimate Collection Vol.3

SS.RS.14.Chat Run For Your Life Studio Chat

PS Vinyl To The Core SS.RS.14.05 Run For Your Life Tk5 (incomplete) Track 9

PS Arrive Without Aging SS.RS.09.Monitor Girl Monitor Mix Track 2

PS Revolution SS.RS.10.01 Im Looking Through You Tk1 Track 4

PS Ultra Rare Trax Vol.1 OS Another Sessions..Plus (less quality) SS.RS.10.Anth Im Looking Through You Tk1 Alternate Mix Disc 1 Track 15

PS Anthology 2 SS.RS.10.04 Im Looking Through You Tk4 Track 10

PS Another Sessions..Plus SS.ETC.10.Reh 12 Bar Original Rehearsal Track 14

PS Arrive Without Aging OS Hodge Podge SS.ETC.10.01 12 Bar Original Tk1 Disc 1 Track 23

PS Turn Me On Dead Man SS.ETC.10.02 12 Bar Original Tk2 Disc 1 Track 24

PS Turn Me On Dead Man SS.ETC.10.RM 12 Bar Original RM1(Tk2)

PS Another Sessions...Plus OS Acetates SS.ETC.10.RS.Anth 12 Bar Original Edited RS(Tk2) Disc 1 Track 16

PS Anthology 2 SS.RS.NS Beatles Speech

PS Vinyl To The Core

Rubber Soul Mono LP Original American tracks: Drive My Car: Mono from UK Stereo Mix (Yesterday & Today) Norwegian Wood: UK Mono Mix (Capitol Rubber Soul) You Wont See Me: UK Mono Mix (Capitol Rubber Soul) Nowhere Man: UK Mono Mix (Yesterday & Today) Think For Yourself: UK Mono Mix (Capitol Rubber Soul) The Word: UK Mono Mix (Capitol Rubber Soul) Michelle: US mono Mix (Capitol Rubber Soul) What Goes On: UK Mono Mix (Yesterday & Today) Girl: UK Mono Mix (Capitol Rubber Soul) Im Looking Through You: UK Mono Mix (Capitol Rubber Soul) In My Life: UK Mono Mix (Capitol Rubber Soul) Wait: UK Mono Mix (Capitol Rubber Soul) If I Needed Someone: UK Mono Mix (Yesterday & Today) Run For Your Life: UK Mono Mix (Capitol Rubber Soul) PS Rubber Soul (mono) PMC 1267 [Dr. Ebbetts Sound System] AS Soul Sessions CD Notes Run For Your Life: A thump during the instrumental break-- possibly someone hitting a microphone-- has been removed in stereo CD. Drive My Car: The lead vocal is far right in stereo LP, right center on stereo CD. The cowbell track in stereo LP is heard during each verse except in the last line, between lines of the refrain, in the instrumental break, and in the fadeout. In mono it is much softer and seems to be missing completely during the fadeout. Capitol mono T 2553 is not UK mono mix and must have been combined from stereo LP. In the CD mix the vocal is moved to right center, leaving the cowbell and guitar track far right, and the cowbell is heard continuously through the refrain, evidence that the track is being faded during vocal lines in stereo LP. Reports of a different mono mix with the piano much softer, on UK Parlophone GEP 8952 Nowhere Man (EP) 1965 (see the book Every Little Thing for example), are mistaken, but perhaps "piano" is a transcription error for "cowbell" since the EP with the mono mix does differ from Capitol mono. In My Life: The new CD mix differs from LP mix several ways. Both have the lead vocal mixed far right, but a heavy reverb added to CD is mixed center, sounding almost like a double track vocal. A breath is heard before the vocal starts in stereo LP, the drum is louder in the verses in stereo LP, and a plink in the decay of the guitar, left, at the end of the song is not heard in stereo CD. The end of the piano solo is faded away slightly better in stereo CD. Norwegian Wood: Mono mix has a pair of cough sounds after "to sit anywhere", mixed out on the others. A stereo mix on bootleg shows this to be George, since it is on the isolated sitar track. Also on that track is a spoken "sounds good" (second word indistinct) just as the vocal begins "she told me she works...", and that is also barely audible in mono only. Nowhere Man: The original stereo mix for the LP has all sound either far left or far right. The new CD mix has rhythm (drums, bass, rhythm guitar) at left center and only lead guitar at far left; the lead guitar moves to

far right for solo as in LP stereo. CD Stereo has John's lead vocal at right center and his second vocal with the others at far right. Paul refers to the guitars as extremely trebly in the interview in Lewisohn's Recording Sessions. The only release that seems to show this is the MFSL half-speed master cassette tape. Michelle: US mono mix has louder percussion than UK mono mix, and fades a little longer. What Goes On: In the closing guitar work, both stereo mixes have a short probable overdub that improves the ending as heard in the mono mix. Ringo's off-mike singing during the break and at the ending is easier to hear in the stereo mixes. The Word: US Stereo Mix must be the rejected Nov 11 mix: not only does it not sound as good, but surely Parlophone uses the correct mix, and the new CD mix was made to sound like UK Stereo Mix. The lead vocal is doubletracked in US Mix but single in the other stereo versions and in mono. In all stereo versions, the main instrumental track is left and the first vocal track is right. In the rejected mix, the track with bass, maracas and falsetto harmony (last 2 refrains) is mixed left with the other instruments, while the track with the second vocal track is mixed right; in the later stereo mixes those two tracks have been mixed to the opposite sides. The UK Stereo mix and the CD Stereo have extreme separation between the stereo channels. Im Looking Through You: Stereo LP fades earlier than mono mix. The stereo appearance in US Rubber Soul begins with two false starts on guitar, evidently trimmed off the original UK stereo. The CD mix moves Paul's vocal closer to the center. At 1:34 the second note of the third "blat blat" (organ?) suddenly is mixed center instead of to the right like all its other notes, on CD only. You Wont See Me: LP stereo mix fades slightly earlier than mono mix. Rubber Soul Stereo LP Original American tracks: Drive My Car: UK Stereo Mix (Yesterday & Today) Norwegian Wood: UK Stereo Mix (Capitol Rubber Soul) You Wont See Me: UK Stereo Mix (Capitol Rubber Soul) Nowhere Man: UK Stereo Mix (Yesterday & Today) Think For Yourself: UK Stereo Mix (Capitol Rubber Soul) The Word: US Stereo Mix (Capitol Rubber Soul) Michelle: UK Stereo Mix (Capitol Rubber Soul) What Goes On: UK Stereo Mix (Yesterday & Today) Girl: UK Stereo Mix (Capitol Rubber Soul) Im Looking Through You: Untrimmed UK Stereo Mix (Capitol Rubber Soul) In My Life: UK Stereo Mix (Capitol Rubber Soul) Wait: UK Stereo Mix (Capitol Rubber Soul) If I Needed Someone: UK Stereo Mix (Yesterday & Today) Run For Your Life: UK Stereo Mix (Capitol Rubber Soul) PS Rubber Soul (MFSL CD); Rubber Soul MFSL 1 106 [Dr. Ebbetts Sound System] AS Help / Rubber Soul (OMR) Rubber Soul Stereo CD

PS Rubber Soul CD Rubber Soul Other Mixes and related SS.RS.02.RS.80 Norwegian Wood RS Ballads LP

This RS has the vocal track in the center of the mix, while it is far right in stereo LP and stereo CD. EMI staff say this song was not newly made in 1977. Is it just a nicely processed mono mix? PS Every Little Thing Vol.2 Disc 1 Track 16 Notes Possibly a remaster work, not a new mix SS.RS.04.RS.99 Nowhere Man 99 RS

PS Yellow Submarine Soundtrack SS.RS.06.RS.US The Word US Stereo Mix

PS Rubber Soul (stereo) ST 2442 [Dr. Ebbetts Sound System] AS Alternate Masters; Mythology Vol.2 Disc 2; Every Little Thing Vol.2 Disc 2 Track 16 SS.RS.10.RS.US Im Looking Through You US Banding Oddity

PS Rubber Soul (stereo) ST 2442 [Dr. Ebbetts Sound System] AS Every Little Thing Vol.2 Disc 1 Track 3 SS.RS.11.RS.Film In My Life Imagine Film Stereo Mix

PS Some Have Gone Some Remain SS.RS.05.RS.99 Think For Yourself 99 RS

PS Yellow Submarine Soundtrack SS.RS.05.RS.US Think For Yourself US RS

PS Every Little Thing Vol.3 Disc 2 Track 18 Notes Its supposed that this is the official RS but tampered with reverb. Appeared in some issues of the US Rubber Soul Album. SS.RS.07.RM.US Michelle US Mono Mix

PS Rubber Soul (mono) T 2442 [Dr. Ebbetts Sound System] AS Vinyl To The Core SS.RS.01.RM.EP Drive My Car EP Mono Mix

There is less piano mixed into the mono version of this song found on the UK EP Nowhere Man than on any other mono or stereo pressing.

PS Every Little Thing Vol.1 Disc 1 Track 23 SS.RS.09.RS.77 Girl US Love Songs Stereo LP

This mix has the vocal track in the center of the mix. PS Every Little Thing Vol.1 Disc 1 Track 27 Notes Possibly a remaster work, not a new mix Day Tripper / We Can Work It Out SP SS.PM2.01.01 Day Tripper Tk1 Disc 3 Track 13 SS.PM2.01.02 Day Tripper Tk2 Disc 3 Track 14 SS.PM2.01.03 Day Tripper Tk3 Disc 3 Track 14

PS The Ultimate Collection Vol.3 SS.PM2.01.RM Day Tripper Mono Mix

On both the stereo mixes, the lead guitar track suddenly goes silent twice around 1:50-1:55, to cover a tape or recording problem. The first spot is after the first "tried to please her" line, where, with no vocal, one side of the mix just goes dead silent, and the second spot is under the second "tried to please her". A bootleg of the whole take reveals a squeaky tape noise at the first spot and some problem with the guitar sound for more than 10 seconds thereafter (possibly this section is a drop-in, recorded over the original sound on the track). The mono mix has this all fixed somehow; there the guitar may have been dubbed in from another verse or take. PS Day Tripper / We Can Work It Our CD SP SS.PM2.01.RS Day Tripper Stereo Mix Track 1

The two stereo mixes differ noticeably. The lead guitar intro in US Stereo starts left and jumps to the right when the other instruments come in; in UK Stereo it starts in both channels instead, apparently by ADT (artificial double tracking). As the ending begins, after the first "day tripper!", US Stereo reveals an off-mike "yeah" by John, while UK Stereo has a partially successful attempt to fade out the word. TM Century, which presses CDs for radio station play in the US, put out a sampler in 1990 with a stereo version that has the first dropout fixed. This is not a new mix but their own edit. It is apparently mix UK Stereo with a small edit piece copied from elsewhere in UK Stereo. This is not an official edit, nor was the record released for sale. PS Past Masters 2 SS.PM2.01.RS.US Day Tripper US Stereo Mix

PS Yesterday & Today (stereo) ST 2553 (Both Covers) [Dr. Ebbetts Sound System] AS The Worlds Best; Every Little Thing Vol.1 Disc 1 Track 18 SS.PM2.02.01 We Can Work It Out Tk1 Disc 3 Track 15 SS.PM2.02.02 We Can Work It Out Tk2 Disc 3 Track 16

PS The Ultimate Collection Vol.3

SS.PM2.02.Rough We Can Work It Out Rough Mix

PS Revolution Track 5 OS Arrive Without Aging SS.PM2.02.RM We Can Work It Out Mono Mix

PS Day Tripper / We Can Work It Our CD SP SS.PM2.02.RS We Can Work It Out Stereo Mix Track 2

This UK stereo has reverb added to the vocals in places, especially the bridge. PS Past Masters 2 SS.PM2.02.RS.US We Can Work It Out US Stereo Mix

In this US stereo mix, the harmonium is moved around: it's to the right during the verses, but to center during the refrains and bridges, and it even drifts to the right in mid-bridge ("fussing and fighting") and end of bridge. By contrast, in UK stereo mix it just stays to the right. But then again, at the very end, the US stereo mix reveals there are two harmonium tracks. PS Yesterday & Today (stereo) ST 2553 (Both Covers) [Dr. Ebbetts Sound System] AS The Worlds Best; Every Little Thing Vol.2 Disc 2 Track 20

STUDIO SESSIONS 1966 - 1967


Paperback Writer /Rain SP SS.PM2.03.01 Paperback Writer Tk1 Disc 3 Track 17 SS.PM2.03.02 Paperback Writer Tk2 Track 12

PS 01: The Ultimate Collection Vol.3; 02: Ultra Rare Trax Vol.1 OS 02: The Ultimate Collection Vol.3 SS.PM2.03.RM Paperback Writer Mono Mix

The mono mix is more powerful, with louder drums and a compressed dynamic range. Ringo's drum tapping during the a capella "paperback writer" can be heard a little in mono [a], fading up a few taps before the guitars come back in. The backup vocal track is unusually "dirty", and in both UK stereo and US stereo unintended sound can be heard at a few points-- particularly, before the last "paperback writer" (about 1:45), a hrrmph and then very quiet tries at the right note (earlier in the song, a miscue starting the second group of "Frere Jacques" is noticeable even in mono). Mono has more echo, notably a long "write write write" after the last verse. Lastly, the mono mix fades later, after the 6th "paperback writer" instead of near the start of the 5th one. PS Paperback Writer / Rain CD SP AS Every Little Thing Vol.2 Disc 1 Track 18 SS.PM2.03.RS Paperback Writer UK Stereo Mix

This UK stereo and US stereo are probably two of three stereo mixes made the same day. The obvious difference is that left-right is reversed, and the only other difference noted is that US stereo mix has the backing vocals a little louder. It could be they are the same mix with both stereo reversal and a slight change in balance that makes the side with the backup vocals louder. PS Past Masters 2 Track 3 SS.PM2.03.RS.US Paperback Writer US Stereo Mix

PS Hey Jude SW 385 [Dr. Ebbetts Sound Systems] AS Every Little Thing Vol.3 Disc 2 Track 8 SS.PM2.03.RS.Alt1 Paperback Writer Alternate Stereo Mix with delay

PS Revolver Mono Matrix 1 AS Every Little Thing Vol.3 Disc 2 Track 7 SS.PM2.03.RS.Alt2 Paperback Writer Alternate JB Stereo Mix

PS Abbey Road Video Show AS Turn Me On Dead Man SS.PM2.03.RS.Video Paperback Writer Stereo Mix for Anthology Video

PS Video 1

SS.PM2.04.RM Rain Mono Mix

PS Paperback Writer / Rain CD SP SS.PM2.04.RS Rain Stereo Mix

PS Past Masters 2 Track 4 Revolver LP Outtakes SS.REV.01.11 Taxman Tk11 Disc 1 Track 20

PS Anthology 2 SS.REV.01.RM4 Taxman RM4

PS Reel To Real Sessions Track 10 AS Mything Pieces Vol.2 Track 29 SS.REV.02.Tracks Eleanor Rigby Instrumental Tracks

PS Anthology 2 Disc 1 Track 21 SS.REV.03.Reh Im Only Sleeping Rehearsal Disc 1 Track 22 SS.REV.03.01 Im Only Sleeping Tk1 Disc 1 Track 23

PS Anthology 2 SS.REV.05.MonMix1 Here There Everywhere Monitor Mix #1 SS.REV.05.MonMix2 Here There Everywhere Monitor Mix #2 SS.REV.05.MonMix3 Here There Everywhere Monitor Mix #3 SS.REV.05.MonMix4 Here There Everywhere Monitor Mix #4

PS Control Room Monitor Mixes SS.REV.05.Anth Here There Everywhere Edit for Anthology II From Tk7 Plus Tk13 Chorus

PS Real Love CD SP Track 4 SS.REV.09.05 And Your Bird Can Sing Tk5

PS Anthology 2 Disc 1 Track 19 Notes In Upgraded Collection Highlights (and others bootlegs) the laughter in this take has been removed by OOPS SS.REV.10.01 For No One Tk1 Monitor Mix Track 2 SS.REV.10.02 For No One Tk2 Monitor Mix Track 2 SS.REV.10. MonMix1 For No One Playback #1 Track 4

SS.REV.10. MonMix2 For No One Vocal Overdub Track 4 SS.REV.10. MonMix3 For No One Playback #2 Track 4 SS.REV.10. MonMix4 For No One Horn Overdub Track 4

PS Control Room Monitor Mixes SS.REV.13.05 Got To Get You Into My Life Tk5

PS Anthology 2 Disc 1 Track 18 SS.REV.13.05.End Got To Get You Into My Life End of Tk5

PS Abbey Road Video Show Track 26 SS.REV.14.01 Tomorrow Never Knows Tk1

PS Anthology 2 Disc 1 Track 17 Revolver Mono LP Original American tracks: Taxman: UK Mono (Capitol Revolver) Eleanor Rigby: UK Mono (Capitol Revolver) Im Only Sleeping: US Mono (Yesterday & Today) Love You To: UK Mono (Capitol Revolver) Here, There And Everywhere: UK Mono (Capitol Revolver) Yellow Submarine: UK Mono (Capitol Revolver) She Said She Said: UK Mono (Capitol Revolver) Good Day Sunshine: UK Mono (Capitol Revolver) And Your Bird Can Sing: US Mono (Yesterday & Today) For No One: UK Mono (Capitol Revolver) Doctor Robert: US Mono (Yesterday & Today) I Want To Tell You: UK Mono (Capitol Revolver) Got To Get You Into My Life: UK Mono (Capitol Revolver) Tomorrow Never Knows: UK Mono (Capitol Revolver) PS Revolver (mono) PMC 7009 [Dr. Ebbetts Sound Systems] AS Revolver Mono Matrix 1 Notes Tomorrow Never Knows: The similarity in the tape loop effects in mono and stereo suggest that they were recorded into one of the 4 tracks of the master. The general trend is that in mono the transition is faster, so sound comes up to full volume almost suddenly and then goes completely out. Mono starts with the loop track at full volume while stereo fades in on it. The guitar sound in the break sounds more processed and full in mono. At the start of the second vocal section stereo has a feedback whistle in "love is all and love is everyone" while does not.

Got To Get You Into My Life: Mono has a noticeably longer fade (8 seconds) that helps, and louder bass and percussion. The brass sound on mono was augmented on June 20 by lifting brass sound from the master and overdubbing onto the mix done on June 17. This overdub, being on the mix tape, was not done in stereo. Both mixes have different vocals at the fade, the line "every single day of my life", which may be the use of different vocal tracks of the doubletracking. Love You To: Mono has a much longer fade, by 13 seconds. Dr. Robert: The UK mono seems to have the vocal mixed louder than US mono, but perhaps it is better to say the guitar backing is quieter during the verses, while the vocal and rhtyhm section is more powerful. Taxman: The mono mix is more powerful, with all the instrumental tracks louder. The cowbell, which is not loud in either mix, starts after "5 per cent appear too small" in mono and later, at "I'm the taxman" in the second refrain, in stereo. The guitar is a little louder in the countdown intro in mono. And Your Bird Can Sing: Of the mono mixes, the US has louder handclaps than the UK, and the guitars seem to drop a little more in volume during the verses in the UK mix. Im Only Sleeping: The backwards guitar effect is heard in different places in the four mixes, and a lead guitar track is mixed differently throughout the solo and at the end. An alleged fifth mix, the "French EP", is just UK mono. verse 1 no backwards guitar (BG) on any mix verse 2 US Mono no BG UK Stereo BG on "everywhere at such a speed" and "find there's no need" US Stereo BG on "running everywhere at such a speed" and "till they find there's no need" UK Mono BG on "where at such a speed" and "there's no need" verse 3 US Mono BG on "time" and "ceiling" UK Stereo & US Stereo no BG UK Mono BG on "staring at the ceiling" solo US Mono guitar continues into words "please don't" at end of solo UK Stereo & UK Mono guitar ends at end of solo US Stereo guitar fades in 2 bars later, continues into "please" verse 4 no BG on any mix end US Mono guitar starts 4 beats after the last word "sleeping" UK Stereo, US Stereo & UK Mono guitar starts immediately after last word "sleeping" Eleanor Rigby: The ADT in stereo continues into "Elean" in 1st verse, a really glaring mistake. The lead vocal, perhaps too prominent in both mixes, sounds stronger in mono. For No One: The vocal comes across louder in mono. Yellow Submarine: The guitar comes in right away in mono but after "in the town" in stereo. At the start of verse 3, a splash sound effect is faded away quickly in mono as the vocal starts, but continues over "and we live a life" in stereo. John is heard repeating the vocal after the first line of verse 3 ("life of ease") in mono but not until the next line ("all we need") in stereo. The last line of verse 3 sounds like "in our yellow clubmarine" in mono but "slubmarine" in stereo. The official lyric is just "submarine". I Want To Tell You: The piano comes through more noticeably in mono Good Day Sunshine: The bass drum is missing at the very end in stereo

Here, There And Everywhere: In the last line the lead voice is "You'll be there, and everywhere". In mono the backing voice is heard to sing "I'll be there" instead, not audible in stereo but possibly there very softly. The vocal backing is missing in mono on the last chord. She Said She Said: The mono mix seems more powerful, although the rhythm track can be heard fading down during vocal lines and back up in between. Revolver Stereo LP Original American tracks: Taxman: UK stereo (Capitol Revolver) Eleanor Rigby: UK stereo (Capitol Revolver) Im Only Sleeping: Mock stereo made from US Mono (Yesterday & Today First Issue) Love You To: UK Stereo (Capitol Revolver) Here, There And Everywhere: UK Stereo (Capitol Revolver) Yellow Submarine: UK Stereo (Capitol Revolver) She Said She Said: UK Mono (Capitol Revolver) Good Day Sunshine: UK Stereo (Capitol Revolver) And Your Bird Can Sing: Mock stereo made from US Mono (Yesterday & Today First Issue) For No One: UK Stereo (Capitol Revolver) Doctor Robert: Mock stereo made from US Mono (Yesterday & Today first Issue) I Want To Tell You: UK Stereo (Capitol Revolver) Got To Get You Into My Life: UK Stereo (Capitol Revolver) Tomorrow Never Knows: UK Stereo (Capitol Revolver) PS Revolver CD Notes The issues of Yesterday & Today that have the stereo mix of And Your Bird Can Sing, Im Only Sleeping, Dr. Robert are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT-2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue. The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs. Revolver Other Mixes and related SS.REV.03.RM.US Im Only Sleeping US Mono Mix

PS Yesterday And Today (mono) (both covers) T 2553 [Dr. Ebbetts Sound Systems] AS Alternate Masters; Revolver Mono Matrix 1; Every Little Thing Vol.2 Disc 1 Tracks 4 SS.REV.03.RS.US Im Only Sleeping US Stereo Mix

PS Yesterday And Today (mono) (Trunk cover) T 2553 [Dr. Ebbetts Sound Systems] AS Alternate Masters; Revolver Mono Matrix 1; Every Little Thing Vol.3 Disc 1 Track 20

SS.REV.05.RS77 Here There Everywhere US Love Songs Stereo LP

PS Love Songs SKBL 11711 [Dr. Ebbetts Sound Systems] AS Every Little Thing Vol.1 Disc 2 Track 8 SS.REV.05.UK.YS Here There Everywhere UK Yellow Submarine Mono LP

PS Yellow Submarine (mono) PMC 7070 [Dr. Ebbetts Sound Systems] AS Every Little Thing Vol.3 Disc 2 Track 24 Notes The official RS but collapsed in mono. SS.REV.06.Anth Yellow Submarine Anthology RS

PS Real Love CD SP Track 3 SS.REV.09.RM.US And Your Bird Can Sing US Mono Mix

Louder handclaps PS Yesterday And Today (mono) (both covers) T 2553 [Dr. Ebbetts Sound Systems] SS.REV.09.RS.US And Your Bird Can Sing US Stereo Mix

PS Yesterday And Today (mono) (Trunk cover) T 2553 [Dr. Ebbetts Sound Systems] AS Revolver Mono Matrix 1; Every Little Thing Vol.1 Disc 1 Track 7 SS.REV.11.RM.US Doctor Robert US Mono Mix

At the very end of the fade, This US mono mix seems to reach the true end of the song, and then has John (?) saying "OK Herb" (?), which is not even on the mock stereo made from it. The "well well well" parts are also mixed differently here than on the other mixes. PS Yesterday And Today (mono) (both covers) T 2553 [Dr. Ebbetts Sound Systems] AS Alternate Masters CD; Revolver Mono Matrix 1; Every Little Thing Vol.1 Disc 1 Track 22 SS.REV.14.RM11 Tomorrow Never Knows Mono Mix RM11

Mono Mix RM11 is extremely rare, and is believed to have been manufactured on only the first day of UK pressing. Most copies have matrix 606-2 or 606-3 on side B, and are the standard version heard on all copies of other countries' pressings. This is mono remix 11 while the standard version is remix 8. In the rare mix, the vocal is louder and clearer over the effects, the fade is slightly longer and has more piano, and the effects are faded up quite differently (whereas the more common mono mix and the stereo are pretty similar). PS Revolver Mono Matrix 1 AS Turn Me On Dead Man; Every Little Thing Vol.3 Disc 2 Track 20 Penny Lane / Strawberry Fileds Forever SP Strawberry Lane (Silent Sea SS069/70) has all this material and includes G.Martin comentaries about the recording of Strawberry Fields Forever. I dont know the quality level compared the Primary Sources.

SS.MMT.08.01 Strawberry Fields Forever Tk1 Track 17 SS.MMT.08.02 Strawberry Fields Forever Tk2 Track 18 SS.MMT.08.03 Strawberry Fields Forever Tk3 Track 19 SS.MMT.08.04 Strawberry Fields Forever Tk4 Track 19 SS.MMT.08.05 Strawberry Fields Forever Tk5 Track 20 SS.MMT.08.06 Strawberry Fields Forever Tk6 Track 20 SS.MMT.08.07 Strawberry Fields Forever Tk7 Track 21 SS.MMT.08.25 Strawberry Fields Forever Tk25 Track 23 SS.MMT.08.26 Strawberry Fields Forever Tk26 Track 24

PS Its Not Too Bad SS.MMT.08.RM3 Strawberry Fields Forever RM3(Tk7)Disc 2 Track 1 SS.MMT.08.RM9 Strawberry Fields Forever RM9(Tk26) Disc 2 Track 2

PS Turn Me On Dead Man YN More Masters for Engineer announcement and pre-song noise SS.MMT.08.RM Strawberry Fields Forever Mono Mix

The infamous spoken "cranberry sauce", actually said twice, is in the percussion track dating from take 24, and both are easily heard in the new mix made for Anthology. The second one is almost cut off at the end of the fade in mono, but on the German single (Odeon O 23 436) just a syllable of it can be heard that is missing from known US and UK pressings. Germany Stereo mix had been the only place to hear the second one in full, since US Stereo Mix cuts off just before it. PS Penny Lane / Strawberry Fields Forever CD SP Notes In Strawberry Lane Disc 2 Track 11 is the US SP, maybe the same mix, but a its a little longer and lacks of a hi-hat click right after John sings Strawberry Fields... the first time. SS.MMT.08.RS.US Strawberry Fields Forever US Stereo Mix

PS Magical Mystery Tour (stereo) SMAL 2853 [Dr. Ebbetts Sound Systems] AS Its No Too Bad; Every Little Thing Vol.2 Disc 2 Track 11 SS.MMT.08.RS Strawberry Fields Forever Germany Stereo Mix

This newer stereo mix was once known as the German stereo mix and is now the standard CD stereo mix. It has better percussion sound than the older stereo mix and more stereo separation. The older mix has a nice effect at the edit, quickly moving the cello and trumpet track across the image from left to right, where it stays, distracting the listener from the edit itself; in the newer mix this track just starts suddenly on the right. The swordmandel at the start of both verse 2 and 3, which sounds like a harp, moves from left to right in the newer mix, while it's just centered in the older one. John counts down the rest before the start of verse 2 and 3, properly mixed out in the older mix but heard in the newer one. The fadeout-fadein near the end goes to a moment of silence in the newer stereo mix, but comes back immediately in the others. The newer stereo mix has a slightly longer final fade so we hear a second "cranberry sauce" in the drum track, left. The differences in the two stereo mixes helps in working out what is on the 4 tracks although there are still some questions.

PS Magical Mystery Tour CD Notes In Every Little Thing Vol.3 Disc 2 Track 14 is the same mix but taken from Germany MMT (the first appearance of this remix). Slightly shorter and different feeling. SS.MMT.08.Anth1 Strawberry Fields Forever Anthology Mix for Tk1

PS Anthology 2 Disc 2 Track 2 SS.MMT.08.Anth2 Strawberry Fields Forever Anthology Mix for RM3(Tk7) crossfaded with Tk25

PS Anthology 2 Disc 2 Track 3 SS.MMT.09.Ovd Penny Lane Overdub Session

PS The Lost Pepperland Reel Track 12 SS.MMT.09.RM8 Penny Lane RM8 Disc 2 Track 3

PS Turn Me On Dead Man YN More Masters for engineer announcement and pre-song noise SS.MMT.09.RM9 Penny Lane RM9 Disc 1 Track 21

PS More Masters SS.MMT.09.RM10 Penny Lane RM10 Disc 2 Track 4

PS Turn Me On Dead Man YN More Masters for engineer announcement SS.MMT.09.RM11 Penny Lane RM11

This first mix used on the US promo single, has an extra trumpet at the end, deliberately mixed out in later mixes. PS Hodge Podge 4 AS Every Little Thing Vol.2 Disc 1 Track 19 (if this is the real thing is a lot of better!) Notes The version with the commercial release and the final seven trumpet notes is in Every Little Thing Vol.2 Disc 1 Track 20. It appeared at US Rarities. SS.MMT.09.Anth Penny Lane Anthology RS(Tk9) Disc 2 Track 4

PS Anthology 2 SS.MMT.09.RS.JB Penny Lane John Barret RS(Tk9)

PS Turn Me On Dead Man

SS.MMT.09.RM Penny Lane Mono Mix

PS Penny Lane / Strawberry Fields Forever CD SP SS.MMT.09.RS Penny Lane Stereo Mix

The stereo mix has a extra trumpet after "clean machine", not heard in the mono mixes. The beginning fades up in mono, but in stereo it starts suddenly on a couple of bass notes lost in mono. All mixes seem to lose the first word of the vocal ("In Penny Lane...") or perhaps it is not there. A Mock stereo from Mono Mix for US Apple 1967-1970 LP may also be on later issues of Capitol Magical Mystery Tour LP SMAL 2835, and the later UK release of the Magical Mystery Tour LP. It has less extreme bass-treble separation. The Brazilian LP Beatles For Ever (Apple 31C 066-04 972) has the phrase "in summer" cut out, for reasons unknown. PS Magical Mystery Tour CD Notes A reprocessed stereo from the mono mix was used in the US MMT LP. In Every Little Thing Vol.3 Disc 2 Track 9 is this reprocessed stereo. SS.MMT.09.RS.Promo Penny Lane Promo Stereo Mix Track 5

PS Video I Sgt. Peppers Lonely Hearst Club Band LP Outtakes SS.SGT.01.SE Sgt. Peppers Lonely Hearst Club Band Sound Effects

PS The Lost Pepperland Reel SS.SGT.01.Playback Sgt. Peppers Lonely Hearst Club Band 4-Track Playback

PS Arrive Without Aging SS.SGT.02.06 Lucy In The Sky With Diamonds Tk6

PS Arrive Without Aging SS.SGT.07.01 Being For The Benefit Of Mr. Kite Tk1 SS.SGT.07.02 Being For The Benefit Of Mr. Kite Tk2

Talk and take 1 (breakdown), edited into talk and take 2 (breakdown), edited into talk before the standard take 7. PS Anthology 2 Disc 2 Track 8 SS.SGT.07.07 Being For The Benefit Of Mr. Kite Tk7 (very end) SS.SGT.07.08 Being For The Benefit Of Mr. Kite Tk8 (call for take)

PS Abbey Road Video Show Track 26 SS.SGT.07.Anth Being For The Benefit Of Mr. Kite Tk7 + SE

The Anthology mix is deliberately different. First it shows take 7 without the organ and calliope effects, including some John scat vocal during the instrumental break that was mixed out of the released versions, and then it crossfades into the organ and calliope overdub tracks to a fadeout. PS Anthology 2 Disc 2 Track 9 SS.SGT.08.Playback Within You Without You 4-Track Playback

PS Arrive Without Aging SS.SGT.08.Back Within You Without You Back Tracks

The Anthology has a remix of the instrumental tracks without the vocal, and no laughter at the end. There are traces of the vocal: for example, listen for "you're only very small" just before the instrumental break, in the left channel, and for the last verse. PS Anthology 2 Disc 2 Track 11 SS.SGT.09.RS.Speed When Im Sixty-Four RS Speed Corrected

PS Upgraded Collection - Highlights AS Mythology Vol.3; Mything Pieces Disc 2 Track 30 SS.SGT.11.RS.SE Good Morning Good Morning Sound Effects

PS The Lost Pepperland Reel SS.SGT.11.Playback Good Morning Good Morning 4-Track Playback

PS Arrive Without Aging SS.SGT.11.08 Good Morning Good Morning Tk8

The Anthology mix [c] is deliberately different and appears to show the state as of Feb 16, after the vocal and bass overdub, but without the horns and the sound effecs at the end. PS Anthology 2 Disc 2 Track 6 SS.SGT.12.05 Sgt. Peppers Lonely Hearst Club Band Reprise Tk5

On this outtake the band play the additional drumbeats at the beginning as heard in the standard version in mono. PS Anthology 2 Disc 2 Track 12 SS.SGT.13.01 A Day In The Life Tk1 (fragment)

PS Arrive Witout Aging Track 19 SS.SGT.13.02 A Day In The Life Tk2 (Partial)

The Anthology mix is deliberately different and contains some material not used in the standard versions. It contains many parts edited together: talk before take 1 (the take used for the standard version); take 2 (not the standard version) from start of song through the 24-bar count; overdubs to take 6 later wiped out for the standard version but preserved in a 30 Jan mono mix; more of take 2 for the last verse; take 2 synchronized

with the orchestral overdub of the standard version; and finally talk recorded on Feb 10 and never intended to be used as the conclusion. All of this is mono until the orchestral overdub, which has been remixed to stereo. The Jan 30 overdub mono mix has been available on bootleg since 1987, and shows a different bass part throughout as well as the different Paul vocal highlighted here; but it breaks down after Paul flubs the vocal. The reverb on the 24-bar count was done during recording PS Anthology 2 Disc 2 Track 5 SS.SGT.13.06 A Day In The Life Tk6

PS Acetates Track 4 SS.SGT.13.RS4 A Day In The Life RS4 SS.SGT.13.RS5 A Day In The Life RS5 SS.SGT.13.RS6 A Day In The Life RS6

PS Unsurpassed Masters Vol.3 Track 9 SS.SGT.13.RS.Unk1 A Day In The Life Alternate RS#1

PS Ultra Rare Trax Vol.3 SS.SGT.13.RS.Unk2 A Day In The Life Alternate RS#2

PS Sgt. PeppersHistory Of The Beatles Years 62-70 (Vinyl) SS.YS.02.03 Only A Northern Song Tk3

The Anthology mix is also synchronized from tracks on different original tapes, but deliberately has different tracks mixed in, including a different lead vocal; and it is speeded up just over 2 per cent for no stated reason. PS Anthology 2 Disc 2 Track 7 Notes In Upgraded Collection Highlights has it speed corrected SS.YS.02.RM Only A Northern Song Mono Mix

PS The Lost Pepperland Reel AS Every Little Thing Vol.3 Disc 2 Track 6 SS.YS.02.RS Only A Northern Song Stereo Mix

PS Yellow Submarine CD SS.YS.02.RS99 Only A Northern Song 99 Stereo Mix

PS Yellow Submarine Songtrack Sgt. Peppers Lonely Hearst Club Band Mono LP PS Sgt. Peppers Lonely Hearst Club Band Mono [Japan CD]; Sgt. Pepper's Lonely Hearts Club Band (mono) PMC 7027 [Dr. Ebbetts Sound Systems]

AS Pepperland Sgt. Peppers Lonely Hearst Club Band Stereo LP PS Sgt. Peppers Lonely Hearst Club Band CD Notes Sgt. Peppers Lonely Hearts Club Band: The lead guitar starting around "I don't really want to stop the show" is louder in mono, barely there in stereo. The crowd noise differs between the two and the crossfade is less well hidden in mono. Good Morning Good Morning: An Apr 6 mono mix was replaced by an Apr 19 mono mix containing an improved blend of the hen cluck at the end into the first note of the next song, Sgt Pepper (reprise). Lewisohn does not say when or if the Apr 6 stereo mix was redone, and perhaps it was not. Checking the ending shows that the sound effects match in mono and stereo until the foxhunt, where the mono fades earlier, so that the hunt lasts about 6 seconds longer in stereo and continues past the somewhat later fadeout of the music. This may be the end of the main tape. Because of the early fade in mono, "Good morning good morning good" is heard only 9 times as against 10 times in stereo. Both mixes then crossfade to the chicken squawk on what appears to be a separate tape, since unlike the other sound effects it does not overlap any music. The squawk is slightly longer in stereo, and blends better into the Sgt Pepper (reprise)-- the retry on the mono mix may have been to make it more like the stereo? The lead guitar is mixed down after the break in mono but on stereo it continues loud over "People running round...". After "tea and 'Meet the Wife'" the guitar phrase is treated to a little extra ADT in mono. Fixing A Hole: The mono is two mixes edited together. The mono is a few seconds longer, long fade. Being For The Benefit Of Mr. Kite!: Mono has more of the organ tape loops in the break after "Henry the horse dances the waltz", perhaps a track not faded up in the stereo mix? Lovely Rita: Talk just before the end is audible, the last syllables "leave it" (or "believe it"?) being quite distinct in mono. Lucy In The Sky With Diamonds: Mono has quite a bit of "phasing" not in stereo -- phasing is ADT with deliberate tape speed manipulation ("flanging") for a classic pyschedelic effect. Note especially the third "Lucy" line in the first refrain, but it continues, notable again in second refrain and in instrumental part leading to third refrain. Stereo sounds more natural but mono is evidently what was desired. Within You Without You: The laughter at the end was also edited on, but mono and stereo have a different laugh. Shes Leaving Home: A short amount of instrumental work between the verses was removed after the mixing was done, so both mixes are edited. Reverb had been added during mixing, and the edits are a little more obvious in stereo, just before Paul starts singing the second and third verses. The two mixes are at different speeds, and we believe stereo was slowed down when mixed (rather than the mono being sped up), partly because the orchestra sounds better in mono. Possibly the tape was made at an off-speed, like many Sgt Pepper songs, and was played for stereo mixing at normal speed? With A Little Help From My Friends: The crossfade joins this to the preceding song, Sgt Pepper, but the songs do not overlap; rather, crowd noise runs from one through to the other. This song starts right before the announcement "Billy Shears!", which is more readily apparent as a change in ambience in mono, since louder crowd noise covers the join better in stereo. Sgt. Peppers Lonely Hearts Club Band (Reprise): The crossfade joins this to the following song, A Day in the Life. The edit in mono is better, so the last note hits the first chord of A Day in the Life, while there is a delay in stereo. Mono starts with unknown spoken words not in stereo, then both have a countdown with someone saying "bye" (?) behind it, then mono has more drum beats to start. During the sequence just described, crowd noise in mono starts louder, dies down, then up to a cheer, while crowd noise in stereo stays steady at medium volume-- the crowd noise seems to have been added during mixing. Right before the vocal is a "woo", louder

in mono. Toward the end in mono Paul is heard shouting unintelligible phrases ("we are the greatest"?, "the band, the one and only band"? among other things) starting near the last "Sgt Pepper's lonely", while in stereo John is heard nearer the end saying something like "hold my guitar for me". Sgt Pepper Inner Groove: This 2 seconds of talk was placed in the inner groove of the Parlophone release. It was dropped for pressings some time after 1978. It is not exactly the same for all pressings due to the runout groove meeting the inner groove at different points in different LP masters. For CD it is repeated into a fadeout. Was not available in US pressings. In stereo appeared in US on Capitol Rarities for the very first time. Dog Cut: On LP this 15 KHz tone is not a recording at all, but was cut mechanically into the master disk after A Day in the Life. It was recreated at unknown dates for other master disks, but was never cut into disks by Capitol for US release. For CD it was created electronically in 1987 and put into the master digital tape used for CD production Sgt. Peppers Lonely Hearst Club Band Other mixes and related SS.SGT.01.RS99 Sgt. Peppers Lonely Hearst Club Band 99 Stereo Mix

PS Yellow Submarine Songtrack SS.SGT.02.RS99 With A Little Help From My Friends 99 Stereo Mix

PS Yellow Submarine Songtrack SS.SGT.03.Anth Lucy In The Sky With Diamonds Anthology II RS(T6/T7)

The Anthology mix is deliberately different and sychronizes parts of an outtake with the standard take. It is take 6 (standard version is 7) with a tamboura from take 7 with harmony vocals in the chorus from the standard version take 8. There is no bass. PS Anthology 2 Disc 2 Track 10 SS.SGT.03.RM.Film Lucy In The Sky With Diamonds RM Film

Has less phasing PS The Lost Pepperland Reel SS.SGT.03.RS99 Lucy In The Sky With Diamonds 99 Stereo Mix

PS Yellow Submarine Songtrack SS.SGT.09.RS99 When Im Sixty-Four 99 Stereo Mix

PS Yellow Submarine Songtrack SS.SGT.13.RS.Film A Day In The Life Stereo Mix With Clean Intro

The crossfade joins the beginning to the preceding Sgt Pepper (reprise). For the 1967-1970 collection and on a 1978 single, the crossfade is just cut off, so the song begins later than its real beginning. This is the original mix without crossfade appeared in the documentary film Imagine: John Lennon. The same original mix, also including a countdown that is not heard under the crossfade, appeared in a 1967 promo film. PS Turn Me On Dead Man AS The Abbey Road Video Show

OS The Beatles 1966-1970 CD (no count-in) All You Need Is Love / Baby Youre A Rich Man SP SS.MMT.11.Unk All You Need Is Love Take Unknown (SI Tk10?)

PS Abbey Road Video Show SS.MMT.11.10 All You Need Is Love Tk10 SS.MMT.11.58 All You Need Is Love Tk58 Our World Broadcast

Has a tambourine instead of a drumroll at the opening, and a different lead vocal, and additionally parts of the backing tracks were heard before the performance. PS Unsurpassed Masters Vol.3 SS.MMT.11.RM20 All You Need Is Love RM20

PS The Lost Pepperland Reel SS.MMT.11.RM All You Need Is Love Mono Mix

In the intro, the mono version has more horns but less drums, and the piano heard in stereo is not audible. In the guitar solo, the lead guitar is louder in mono and has more flanging, but ends by being cut off awkwardly, while in stereo it fades down but can still be heard during the brass section. The mono version has a longer fade by 10 seconds so that Greensleeves is heard twice. In stereo a voice says "Check!" 25 seconds in. PS Magical Mystery Tour CD EP SS.MMT.11.RS All You Need Is Love Stereo Mix

PS Magical Mystery Tour CD Notes In Every Little Thing Vol.3 Disc 1 Track 2 is the reprocessed stereo from the US MMT LP SS.MMT.11.RS99 All You Need Is Love 99 Stereo Mix

PS Yellow Submarine Songtrack SS.MMT.11.RM Baby Youre A Rich Man Mono Mix

Mono is 9 seconds longer, long fade, compared to stereo. The deep bass is reproduced much better in stereo, but special effects are missing, such as the "spin" echo effect at pauses between lines such as after "eye can see", "enough to know", etc. PS Magical Mystery Tour CD EP SS.MMT.11.RM.Untr Baby Youre A Rich Man Untrimmed Mono Mix

The untrimmed mono has the end of the word "seven" or "eleven" spoken just before the song starts. PS Beatles US Singles Collection (3 CD set) DRC 04501/04502/04503 [Dr. Ebbetts Sound Systems] AS Vinyl To The Core

SS.MMT.11.RS Baby Youre A Rich Man Stereo Mix

PS Magical Mystery Tour CD Notes In Every Little Thing Vol.3 Disc 1 Track 3 is this stereo mix from LP, and in Track 4 the reprocessed stereo from the US MMT LP SS.MMT.11.RS99 Baby Youre A Rich Man 99 Stereo Mix PS Yellow Submarine Songtrack Magical Mystery Tour EP SS.MMT.01.09 Magical Mystery Tour Tk9

PS Acetates Track 5 SS.MMT.01.RM.Film Magical Mystery Tour Film Mono Mix

The original Magical Mystery Tour film soundtrack uses a May 4 mono mix with different vocals at the beginning: a faster "Roll up, roll up, roll up" with "hurry! hurry!" over it, as well as spoken lines by John during the break ("When a man buys a ticket for a magical mystery tour. . . the incredible Magical Mystery Tour", the last part given heavy reverb). The stereo mix made in 1988 for home video has the same variant vocals (though the "hurry" lines are louder). These vocals unique to the film may, like the sound effects, be on the film soundtrack proper and not on the 4-track master of the song. PS Cinelogue Magical Mystery Tour Vinyl Side 1 SS.MMT.01.RM Magical Mystery Tour Mono Mix

PS Magical Mystery Tour CD EP SS.MMT.01.RS Magical Mystery Tour Stereo Mix

Near the end of the instrumental break, the brass part under "Noooow!" is longer in stereo than mono. PS Magical Mystery Tour CD Track 1 SS.MMT.01.RS.Film Magical Mystery Tour Film Stereo Mix

PS Its All In The Mind YKnow Track 8 SS.MMT.02.01 The Fool On The Hill Demo Tk1 SS.MMT.02.04 The Fool On The Hill Tk4

The Anthology mix is deliberately different, showing the state at the end of the first day and showing why Lewisohn calls the overdub and editing "almost a remake" in his Recording Sessions: it has a different lead vocal and a prominent guitar rhythm section missing from the standard mixes. PS Anthology 2 01: Disc 2 Track 15; 04: Disc 2 Track 17 SS.MMT.02.Reh The Fool On The Hill Rehearsal Of Flutes Overdub

The "Rumi Tape" is a horrendously bad quality Beatles rarity of a Fool On the Hill session (possibly Friday Oct 20th, 1967.). The Beatles are interviewed by Japanese interviewers while working on the fluteover-dubs

for Fool On the Hill. The sound is so bad it's almost a complete waste. Yes, worse than the 1960 rehearsal tapes. For those of you'd rather not sit throughout the full 18:46 minutes of noise, I've attempted (after many repeated sittings) to transcribe. George Martin's 'labor of love', as he describes his Hollywood Bowl album, should have been this much fun. Here's my attempted "Rumi Tape" transcript: (Corrections are very welcome, as some things I just couldn't figure out) [0:01] Japanese interviewers (male and female) speaking. (...all unintelligible.) (This is not just because I don't speak Japanese. As I've said above the quality of this existing recording is pretty rough.) (Fool on the Hill flute is heard in background) [0:28] Paul speaks: "Hello readers of ??? magazine. This is Paul speaking from London, England. Saying to you "Hello Tokyo. I love you. And uh, I hope the weathers nice. (laughter) And, See you soon on Mt. Fuji." ?Paul: "??..So wonderful to see you..." Interviewer: ????? (unintelligible) Paul: ."..maybe ah yes maybe, I don't know yet..." Interviewer: ????? (unintelligible) Paul: "I am too..." [1:25] "Yes well maybe ...Thank you." Interviewer:???? [2:18] George: "Hello, readers of the(?) magazine. How are you? Happy 1967. ????? (unintelligible) This is George" (piano heard in background) [2:36] Interviewer: "Thank you George." George: "OK" [2:40 - 3:30] Interviewer: ????? (unintelligible) [3:32] Piano begins again Ringo: ????? [3:32] Ringo: "Hello readers. How are you? This is Ritchie. How are you? Thanks for the lovely time you gave us while we were over there. And, maybe we'll see you soon. Alright?" [4:04 - 5:15] Interviewer: ????? (unintelligible) [5:12] (Laughter is heard) [5:13] John: "????? (unintelligible) ...readers..." Interviewer: ????? (unintelligible) [5:35]

"Fool on the Hill" (either bridge or ending) is heard being rehearsed (Interviewer heard in background till the end of this take) [6:15] Some vocals by Paul come in on a louder different take. Flute track is very different. [7:32] Interviewer heard in background chatting to John(?) [8:54] Piano starts again followed by laughter at 9:02 More interviewer chatting to Beatles (all unintelligible.) [10:08] Break in tape/Tape Change? New 'ambiance'. Scat singing along with flute starts Female Japanese interviewer heard for first time reporting. Flute playing underneath her talking. [12:09] Piano and flute start playing together. [12:18] Complete bridge played by piano and flute. [12:40] Interviewer stops taking. Paul makes a comment: "I don't like this ....?" (probably talking about a musical passage as they are obvious working out the flute part.) [12:53] Piano and vocal continue [12:59] Paul singing 'Fool on the Hill' lyrics in background unaccompanied. [12:20] New run-through with piano and some intermittent vocals. [14:16] Run through with new flute part (still different from released version) [14:58] Yet another run-though with the flute. [15:33] Interviewer starts again while the rehearsal continues in background...More piano and flute... [16:20] Ringo comments (all unintelligible) over new run through. [16:52] Whistling (John?) starts while Ringo continues conversation. [17:25] Time transition on tape:

[17:26] 'Christmas Time Is Here Again' excerpt for a few seconds. [17:33-17:43] George says: "... me ....it was nice meeting you when you came to London. And I hope your show on the radio is very good. And I hope you're playing our records. Thank you." [17:45-17:58] Japanese interviewer comments and introduces 'John Lennon' [17:59-.18:08] John says: "Hello Rumi This is John 'playing' hello again. ...???... It's great seeing you. Good-bye!" [18:09-18:29] Japanese interviewer comments... [18:30-.18:46] Paul says: "Hello Rumi. This is Paul McCartney speaking. I hope you can understand me because I'm speakin' English.". "I know you don't speak very much ...but uh, I'd like to say hello to you and all the people in good ol' Japan.. "...And uh, hope your OK cause we are over here...." [Tape Cuts off] PS Rumitape And More Tracks 5..Track 7 AS Lost Recordings 1967; Magical Mystycal Boy SS.MMT.02.RM The Fool On The Hill Mono Mix

In mono the vocal track is faded out a little sooner in the fadeout. PS Magical Mystery Tour CD EP SS.MMT.02.RS The Fool On The Hill Stereo Mix

PS Magical Mystery Tour CD Track 2 SS.MMT.03.RS.Film The Fool On The Hilll Film Stereo Mix

The home video Magical Mystery Tour uses a 1988 stereo mix that is similar to both stereo and mono mixes. PS Its All In The Mind YKnow Track 9 SS.MMT.02.RS.Promo The Fool On The Hill Promo Stereo Mix

PS Video I SS.MMT.03.RM1 Flying RM1(Tk8) From Acetate

PS Unsurpassed Masters Vol.3 Track 12 SS.MMT.03.RM4 Flying Unedited RM4(Tk8) From Acetate

PS The Ultimate Collection Vol.1 Disc 3 Track 18 Notes

In this CD is the reversed version of this track. A reversed copy was made in 1967, but surely, in TUC Vol.1 this is made by the bootleger. SS.MMT.03.RM Flying Mono Mix

The tape loop track begins earlier. Has louder guitars near the beginning. The mono version is faded earlier, the ending of the track is mixed differently. PS Magical Mystery Tour CD EP SS.MMT.03.RS Flying Stereo Mix

Stereo is a few seconds longer, long fade. PS Magical Mystery Tour CD Track 3 SS.MMT.03.RS.Film Flying Film Stereo Mix

The home video Magical Mystery Tour has a 1988 stereo mix similar to the old mono mix. PS Its All In The Mind YKnow Track 10 SS.MMT.04.03 Blue Jay Way Tk3

PS Acetates Track 7 SS.MMT.04.RM Blue Jay Way Mono Mix

PS Magical Mystery Tour CD EP SS.MMT.04.RS.US Blue Jay Way LP Stereo Mix

Stereo includes a backing vocal track mixed center, part of it backwards, that is hardly used at all in mono. The source of the backwards vocals that are faded in and out seems to be another tape of the whole song being played backwards. All the mixes have a very heavy use of phasing with a particularly long delay. PS Magical Mystery Tour CD Track 4 SS.MMT.04.RS.UK Blue Jay Way EP Stereo Mix

Every Little Thing Booklet: From the original stereo UK Magical Mystery Tour EP. when EMI released the stereo EP on CD they used the incorrect mix from the US Magical Mystery Tour album. PS Every Little Thing Vol.1 Disc 1 Track 17 SS.MMT.04.RS.Film Blue Jay Way Film Stereo Mix

The 1988 stereo mix for home video Magical Mystery Tour makes very little use of the backing vocal track, so it is more like the mono mix. PS Its All In The Mind YKnow Track 14 Notes Regarding the acetate mix found in Acetates Collection (Unicorn) its considered as a fake. That was wrote on September:

1.- It's such a completely different mix that it doesn't even make much sense that either George H. or George M. would have intended it to sound like this at all, so why would they even attempt? 2.- I don't have Lewisohn in front of me so forgive me, but if I recall correctly he describes the very first mix of BJW was made to be given to one of the producers of the Magical Mystery Tour film. When this copy was made, it occurred after vocal overdubbing but before the overdubbing of strings, the strings being recorded some two weeks or so after the Beatles' instruments and vocals were completed. In fact, the more common acetate version of Blue Jay Way (found on Chapter One's "Magical Mystery Demos" among other places) seems to contain just that -- a practically identical mono copy of BJW as we know it, sans strings. I always assumed that this was RM1, leaking out from the tape copy given to the MMT producer. If that is the case, then the Acetate Collection's new BJW must have been made at some later date and for an unknown reason. But who and when and why? 3.- It seems to me that BJW would be one of the easier songs in which to forge a remix. The cd release, at least, has an almost complete separation of vocals on one channel with the backing instrumentation on the other. If someone had the mind to do so, they could play around with the backing all they wanted and then overlay the vocals how they pleased, whereas most songs have vocals on both channels which would make it much more difficult to do that. And added: It's fake. The sure giveaway is that the off-kilter vocal is NOT reflected by the echo of the vocal heard in the instrumental track. SS.MMT.05.09 Your Mother Should Know Rough Mix T9

PS Acetates Track 8 SS.MMT.05.27 Your Mother Should Know T27

PS Anthology Disc 2 Track 16 SS.MMT.05.RM Your Mother Should Know Mono Mix

Mono has "phasing" in the last verse, not in stereo. PS Magical Mystery Tour CD EP SS.MMT.05.RS Your Mother Should Know Stereo Mix

PS Magical Mystery Tour CD Track 5 SS.MMT.05.RS.Film Your Mother Should Know Film Stereo Mix

The right and left channels of stereo in switch twice as a special effect; the 1988 stereo mix made for the Magical Mystery Tour home video does not do so. PS Its All In The Mind YKnow Track 16 SS.MMT.06.07 Im The Walrus Tk7 SS.MMT.06.08 Im The Walrus Tk8 SS.MMT.06.09 Im The Walrus Tk9

PS Control Room Monitor Mixes Track 3 SS.MMT.06.17 Im The Walrus Tk17 Rough Mix

The Anthology mix is deliberately different and entirely omits the orchestra and choral singers, and filters out much of the bass. It has the 6-beat intro and the cymbal crash after verse 1. The extra beats after "I'm crying" are revealed to be a miscue with a vocal that was mixed out in the US mono mix, and of course the whole thing is edited out otherwise. PS Acetates OS Anthology 2 (better sound but shorter) SS.MMT.06.RM Im The Walrus Mono Mix

This mono mix is reportedly mono mix 23, which is an edit of mono mix 10, up to the end of the second "Goo Goo Gajoob", into mono mix 22. Mix 22 is the one with the radio sound mixed in, from a BBC broadcast of King Lear. This mix has three edits, all in the first part of the song (originally from mono mix 10): 2 of the 6 beats in the into are cut off; a cymbal crash at the first "Goo Goo Gajoob" is mixed out; and a few beats after "I'm crying" are edited out. PS Magical Mystery Tour CD EP SS.MMT.06.RM.US Im The Walrus US Single Mono Mix

This US Mono is similar to UK Mono and has the first two of the three edits. The beats after "I'm crying" remain in place. This could be mix 22 in its entirety, which Lewisohn says is a complete mix of the whole song, or it could be an early copy of mix 23 before the last edit was done. The mono track in the Capitol LP MMT appears to be an attempt to edit those beats out of the US mix, to sound like the UK mix, but the edit is slightly different. PS Beatles US Singles Collection (3 CD set) DRC 04501/04502/04503 [Dr. Ebbetts Sound Systems] AS Hodge Podge Vol.4; Every Little Thing Vol.3 Disc 1 Track 17 Notes In Every Little Thing Vol.3 Disc 1 Track 18 and Rarities On Compact Disc Vol.14 is the stereo version of the RM.US for US Rarities LP SS.MMT.06.RS Im The Walrus Stereo Mix

Stereo is a new mix from the synchronized tapes up to the same spot as the edit in the mono mix. After that, this stereo mix is mock stereo made from mono mix 22, in order to include the radio, which was added soundon-sound to that one mono mix. This stereo mix has all 6 beats of the intro, and has the cymbal crash at the end of verse 1, but the third edit, the beats after "I'm crying", was done. The mock stereo sound starts to pan left and right near the end of the fadeout. In Capitol MMT LP stereo is this mix but with the first 2 beats of the intro cut off as the UK mono mix. PS Magical Mystery Tour CD Track 6 SS.MMT.06.RS.Film Im The Walrus Film Stereo Mix

The stereo home video release of Magical Mystery Tour has a new mix with the 4 beat intro, like the Stereo track of the US MMT LP, to synch with the film. At the edit, it cuts into the mono master, not fake stereo. PS Its All In The Mind YKnow AS Every Little Thing Vol.1 Disc 2 Track 11 SS.MMT.07.01 Hello Goodbye Tk1

PS Unsurpassed Masters Vol.3 Track 13

SS.MMT.07.16 Hello Goodbye Tk16

PS Anthology 2 Disc 2 Track 18 SS.MMT.07.RM Hello Goodbye Mono Mix

PS Magical Mystery Tour CD EP SS.MMT.07.RS Hello Goodbye Stereo Mix

PS Magical Mystery Tour CD Track 7 SS.MMT.07.RS.Promo Hello Goodbye Promo Stereo Mix

PS Diyologi Vol.1 [S. Laserdisc] AS Video I Track 6 SS.MMT.07.RS.Anth Hello Goodbye Anthology Stereo Mix

The Anthology mix is deliberately different, showing the state at the 2d or 3d generation of the master, including some guitar parts not in the standard versions. PS Anthology 2 Disc 2 Track 18 SS.YS.03.RM All Together Now Mono Mix

PS The Lost Pepperland Reel SS.YS.03.RS All Together Now Stereo Mix

PS Yellow Submarine CD SS.YS.03.RS99 All Together Now 99 Stereo Mix

PS Yellow Submarine Songtrack Track 5 SS.YS.05.02 Its All Too Much Tk2

PS The Lost Pepperland Reel AS Every Little Thing Vol.2 Disc 1 Track 6 SS.YS.05.RS Its All Too Much Stereo Mix

In this stereo mix, most of the sound that is not placed center is placed using ADT to both left and right, so it sounds very dense PS Yellow Submarine CD SS.YS.05.RM.Film Its All Too Much Film Mono Mix

This is an excerpt of the 8:25 mono mix made 12 October 1967 and was used only in original film prints of Yellow Submarine. The portion used includes a verse not included in the LP version. The additional material includes another verse and chorus (the original third chorus and fourth verse) and runs longer at the end.

PS Every Little Thing Vol.3 Disc 1 Track 21 SS.YS.05.RS99 Its All Too Much 99 Stereo Mix

PS Yellow Submarine Songtrack Track 15 SS.PM2.15.RM You Know My Name (Look Up The Number) Mono Mix

PS Past Masters 2 SS.PM2.15.Anth You Know My Name (Look Up The Number) Edited Version For Anthology

The deliberately different Anthology mix shows the 5 parts clearly with the inclusion of part 2 (ska beat) that was cut entirely from the mono mix, as well as a little bit of new material from part 3 (Slaggers). However almost half a minute of part 4 (high voices) heard in the mono mix is missing in this one, and the ending fades out just before the true ending heard in the mono mix. PS Anthology 3 Disc 2 Track 13 Notes Upgraded Collection Highlights joins the several availables sections of the song and present it as longer as could be

STUDIO SESSIONS 1968 - 1970


Lady Madonna / The Inner Light SP SS.PM2.05.Anth Lady Madonna Tk3 (partial from anthology) The Anthology mix is deliberately different. All the basic tracks of 3 tape generations are synchronized and remixed with drums, bass and sax mixed down or out. There is a sound in the decay of the last note that, if it is in the piano track, explains why that's cut short in the stereo and mono mixes. PS Anthology 2 Disc 2 Track 19 SS.PM2.05.05.OVDa Lady Madonna False Start + Overdub on Tk5 PS Unsurpassed Masters Vol.4 Track 1 SS.PM2.05.05.OVDb Lady Madonna Overdub on Tk5 PS Unsurpassed Masters Vol.7 Track 11 SS.PM2.05.05.OVDc Lady Madonna Overdub on Tk5 PS Abbey Road Video Show Track 21 SS.PM2.05. Reh Lady Madonna Rehearsal PS Control Room Monitor Mixes Track 9 SS.PM2.05.RM Lady Madonna Mono Mix The decay on the last piano note is cut off on both mixes but lasts longer in mono. PS Lady Madonna / The Inner Light CD SP SS.PM2.05.RS Lady Madonna Stereo Mix PS Past Masters Vol.2 Track 5 SS.PM2.06.Back The Inner Light Back Tracks (Oopsed?) PS Arrive Without Aging SS.PM2.06.RM The Inner Light Mono Mix During the opening instrumental section, a mystery instrument that may be a shehnai is different and better in mono: in its first section, it is stronger, lasts longer, and rises at the end, where in stereo it is less complex and trails off. If the mono version is using some sort of edit piece or overdub, which seems likely, they missed it when doing the stereo mix two years later. PS Lady Madonna / The Inner Light CD SP SS.PM2.06.RS The Inner Light Stereo Mix PS Past Masters Vol.2 Track 6

SS.PM2.13.02 Across The Universe Tk2 PS Anthology 2 Disc 2 Track 20 YN Control Room Monitor Mixes for pre-song tuning SS.PM2.13.08 Across The Universe Tk8 PS Dig It Vinyl Side 2 Track 5 AS Artifacts II SS.PM2.13.RM2 Across The Universe RM2(Tk8) PS Revolution Track 12 AS Unsurpassed Masters Vol.4 SS.PM2.13.RSa Across The Universe RS WWF LP Neither of these is at the recorded speed; this old mix is faster and the new mix is slower than the original tape. The finished mono mix made in Feb 1968 has never been issued. This 69 stereo mix has animal sounds overdubbed during mixing for Regal Starline SRS 5013 No One's Gonna Change Our World, a benefit album for the World Wildlife Fund. PS Past Masters Vol.2 Track 13 SS.PM2.13.RSc Across The Universe RS Let It Be LP has most of the original instrumentation mixed out and replaced by new orchestra and choral vocals recorded in 1970. PS Let It Be CD Notes Theres a mono mix from Stereo Mix available in Every Little Thing Vol.1 Disc 1 Track 2: from brazil mono single - orchestra part low in mix uk and us singles in stereo SS.YS.04.Film Hey Bulldog Film Fragment PS The Lost Pepperland Reel SS.YS.04.Film Hey Bulldog Film Mono Mix PS Its All In The Mind YKnow Track 18 SS.YS.04.RS Hey Bulldog Stereo Mix PS Yellow Submarine CD Track 4 SS.YS.04.RS99 Hey Bulldog Stereo Mix 99 PS Yellow Submarine Songtrack Track 2 Hey Jude / Revolution SP SS.PM2.07.01 Hey Jude Tk1

PS Gone Tomorrow Here Today Track 1 AS White Sessions; Down In Havana SS.PM2.07.02 Hey Jude Tk2 PS Anthology 3 Disc 1 Track 17 AS Down In Havana SS.PM2.07.08 Hey Jude Tk8 (end of) SS.PM2.07.09 Hey Jude Tk9 PS Unsurpassed Masters Vol.6 Track 14 YN Nothing Is Real CD for dialogue and lyric SS.PM2.07.Reh1 Hey Jude Rehearsal #1 SS.PM2.07.Reh2 Hey Jude Rehearsal #2 PS White Sessions Reh1: Disc 3 Track 1; Reh2: Disc 3 Track 3 SS.PM2.07.Reh3 Hey Jude Rehearsal #3 SS.PM2.07.Reh4 Hey Jude Rehearsal #4 PS Unsurpassed Masters Vol.4 Track 4 SS.PM2.07.RM Hey Jude Mono Mix Mono is 5 seconds longer than the longest appearance of the stereo mix, long fade PS Hey Jude / Revolution CD SP SS.PM2.07.RS Hey Jude Stereo Mix Drums are mixed louder in stereo. The trimmed versions has been always from this stereo mix. PS Past Masters Vol.2 Track 7 Notes In Every Little Thing Vol.1 Disc 2 Track 9 is the short version for the 82 Capitol Album 20 Greatest Hits. SS.PM2.08.16 Revolution Tk16 PS Revolution Track 11 SS.PM2.08.RM Revolution Mono Mix John's guitar sounds louder in mono PS Hey Jude / Revolution CD SP SS.PM2.08.RSa Revolution Stereo Mix #1 PS Hey Jude SW 385 [Dr. Ebbetts Sound Systems] AS Beatles Again [Fake Capitol CD]

SS.PM2.08.RSb Revolution Stereo Mix #2 PS Past Masters Vol.2 Track 8 SS.ETC.13.Reh1 St. Louis Blues Rehearsal #1 PS White Sessions Disc 3 Track 2 SS.ETC.13.Reh2 St. Louis Blues Rehearsal #2 PS Unsurpassed Masters Vol.4 Track 5 SS.ETC.13.Reh3 St. Louis Blues Rehearsal #3 PS Unsurpassed Masters Vol.4 White Album LP Outtakes SS.WHI.01.RM1 Back In The USSR RM1 Untrimmed PS Primal Colours Track 2 OS Peter Sellers Tape (sounds little worse and has no enginners announcement of RM1 SS.WHI.02.Ovd Dear Prudence OVD Tk1 PS White Sessions Disc 4 Track 2 SS.WHI.01.RM.01a Dear Prudence RM(Tk1) #1 SS.WHI.01.RM.01b Dear Prudence RM(Tk1) #2 PS Gone Tomorrow Here Today CD (Reproman) RMa: Track 21; RMb: Track 2 AS RMb: Gone Tomorrow Here Today CD [Midnight Beat] SS.WHI.03.Alt Glass Onion Alternate Mono Mix This Mono mix has various sound effects, of which only the whistle after "fool on the hill" was used in the standard mix. The orchestra was added on Oct 10 and used for the standard versions. PS Anthology 3 Disc 1 Track 20 SS.WHI.04.RMa Ob-La-Di Ob-La-Da RM(Tk5) PS The Abbey Road Tape Vol.1 Track 7 SS.WHI.04.RMb Ob-La-Di Ob-La-Da RM(Tk5) Sessions PS Anthology 3 Disc 1 Track 11 SS.WHI.04.23 Ob-La-Di Ob-La-Da Tk23 PS The Peter Sellers Tape Track 10 SS.WHI.04.Unk Ob-La-Di Ob-La-Da Unkown Take

PS Abbey Road Video Show Track 26 SS.WHI.05.RM6 Wild Honey Pie RM6 PS The Peter Sellers Tape Track 3 SS.WHI.07.01 While My Guitar Gently Weeps Tk1 SS.WHI.07.01.Ending While My Guitar Gently Weeps End of Tk1 with louder organ PS Abbey Road Video Show 01: Track 23; 01.Ending: Track 26 SS.WHI.07.01.Sessions While My Guitar Gently Weeps Tk1 for Sessions This version was prepared for the Sessions LP in 1984. The ending has been looped to repeat into a fadeout. PS Anthology 3 Disc 1 Track 16 Notes In Upgraded Collection Highlights theres a track with the Anthology 3 mix and the fragment in the Anthology Video SS.WHI.08.Play Happiness Is A Warm Gun Playback PS Arrive Without Aging Track 24 Notes In Anthology Plus the isolated tracks of the playback has been synch with the released version. SS.WHI.08.Early Happiness Is A Warm Gun Early Remix PS Entomology CD-R SS.WHI.10.14 Im So Tired Tk14 PS Control Room Monitor Mixes Track11..Track 15 SS.WHI.10.14.Ending Im So Tired Tk14 Untrimmed ending PS Abbey Road Video Show Track 26 SS.WHI.11.Reh Blackbird Rehearsal Takes PS Gone Tomorrow Here Today Tracks 3,4,5,6,7,8,9,10,12,13,14,15,16,18,19 SS.WHI.11.04 Blackbird Tk4 PS Anthology 3 Disc 1 Track 14 SS.WHI.11.32 Blackbird Tk32 PS The Peter Sellers Tape Track 11 SS.WHI.12.Break Piggies Breakdown

PS Abbey Road Video Show Track 26 SS.WHI.13.08 Rocky Racoon Tk8 PS Anthology 3 Disc 1 Track 21 SS.WHI.13.10 Rocky Racoon Tk10 PS Abbey Road Video Show Track 26 SS.WHI.13.RM1 Rocky Racoon RM1 PS The Peter Sellers Tape SS.WHI.14.03 Dont Pass Me By Tk3 PS Abbey Road Video Show Track 26 SS.WHI.14.05 Dont Pass Me By Tk5 This Stereo mix has only work from 5 and 6 June without the fiddle or intro added in July. It's at the speed of the LP stereo mix. PS Anthology 3 Disc 1 Track 10 SS.WHI.14.RM.07 Dont Pass Me By RM(Tk7) PS The Peter Sellers Tape Track 6 SS.WHI.15.04 Why Dont We Do It In The Road Tk4 PS Anthology 3 Disc 1 Track 26 SS.WHI.15.06 Why Dont We Do It In The Road Tk6 PS Abbey Road Video Show Track 26 Notes Maybe its an Anthology production mix from 04 and the commercial version SS.WHI.16.01.Fs I Will False Start Take 1 PS Abbey Road Video Show Track 26 SS.WHI.16.01 I Will Tk1 PS Anthology 3Disc 1 Track 25 SS.WHI.16.30 I Will Tk30 PS Mything Pieces SS.WHI.17.02 Julia Tk2

PS Anthology 3 Disc 1 Track 27 SS.WHI.17.03 Julia Tk3 PS Abbey Road Video Show Track 26 SS.WHI.18.Untr Birthday RM Untrimmed PS Primal Colours SS.WHI.19.RM3 Yer Blues RM3 PS Primal Colours Track 7 SS.WHI.20.Reh Mother Natures Son Rehearsals PS Gone Tomorrow Here Today Track 11 SS.WHI.20.Break Mother Natures Son Breakdown PS Abbey Road Video Show Track 26 SS.WHI.20.02 Mother Natures Son Tk2 PS Anthology 3 Disc 1 Track 19 SS.WHI.20.26 Mother Natures Son Tk26 PS The Peter Sellers Tape Track 4 SS.WHI.21.RM5 Everybodys Got Something To Hide Except Me And My Monkey RM5 PS Primal Colours OS The Peter Sellers Tape (lacks of enginners intro and Johns comments) SS.WHI.22.06 Sexy Sadie Tk6 PS Anthology 3 Disc 1 Track 15 SS.WHI.22.28 Sexy Sadie Tk28 (ending) SS.WHI.22.29 Sexy Sadie Tk29 (call) PS Abbey Road Video Show Track 26 SS.WHI.22.Mon1 Sexy Sadie Monitor Mix #1 SS.WHI.22.Mon2 Sexy Sadie Monitor Mix #2 SS.WHI.22.Mon3 Sexy Sadie Monitor Mix #3 PS Control Room Monitor Mixes Mon1: Track 6; Mon2 & Mon3: Track 8 SS.WHI.22.Ovd Sexy Sadie OVD Tk117 PS The Peter Sellers Tape Track 5

SS.WHI.23.Reh Helter Skelter Beetween Blackbird Rehearsal Takes PS Gone Tomorrow Here Today SS.WHI.23.02 Helter Skelter Tk2 (Excerpts) PS Anthology 3 Disc 1 Track 3 SS.WHI.23.Untr Helter Skelter RM Untrimmed PS Primal Colours SS.WHI.25.Tape Revolution 1 Psycho-babble Tape PS The A.M. Tape SS.WHI.28.01 Cry Baby Cry Tk1 PS Anthology 3 Disc 1 Track 13 SS.WHI.28b.Adlib Can You Take Me Back Ad-Lib PS Down In Havana YN Turn Me On Dead Man (the last 40 seconds) Disc 2 Track 14 SS.WHI.29.Rough Revolution 9 Rough Stereo Mix PS Revolution Track 13 SS.WHI.30.Break Good Night Breakdown PS Abbey Road Video Show Track 26 SS.WHI.30.34 Good Night Tk34 PS The Peter Sellers Tape Track 8 SS.ETC.14 When I Was A Robber Ad-Lib PS Anthology 3 Disc 1 Track 17 SS.ETC.15.RM Not Guilty OVD Tk102 PS The Peter Sellers Tape Track 12 Notes Theres a fake stereo in Unsurpassed Masters Vol.4 SS.ETC.15.RS.Anth Not Guilty Anthology RS This version was mixed and edited for the Sessions LP. Comparison to another mix that has been bootlegged shows extensive editing and some use of tape loops. Among other things a short guitar solo and one line of lyric are edited out here.

PS Anthology 3 Disc 1 Track 18 SS.ETC.15.RS.JB Not Guilty John Barret RS PS Another SessionsPlus OS Unsurpassed Masters Vol.7 (less quality) SS.ETC.16.02 Whats The New Mary Jean Tk2 PS Abbey Road Video Show Track 26 SS.ETC.16.04a Whats The New Mary Jean Tk4 Version 1 PS Unsurpassed Masters Vol.4 Track 18 SS.ETC.16.04b Whats The New Mary Jean Tk4 Version 2 PS Another Sessions..Plus Track 5 SS.ETC.16.Sess Whats The New Mary Jean Sessions RS This version is not any of those prepared under John Lennon's supervision in 1968 and 1969, several of which have appeared on bootlegs, but is a new version made for the Sessions LP in 1984. It is not just a remix; sound effects have been introduced, and the long end section has been edited considerably. For example, none of Lennon's mixes put lines of the song into the end section. PS Anthology 3 Disc 1 Track 24 SS.ETC.16.RS1 Whats The New Mary Jean RS1 From Tk4 Edited PS Whats The New Mary Jane CD SS.ETC.16.RS4 Whats The New Mary Jean RS4 From Tk4 Unedited SS.ETC.16.RS5 Whats The New Mary Jean RS5 From Tk4 Unedited PS Vinyl To The Core AS Whats The New Mary Jane CD SS.ETC.20 Down In Havana Ad-Lib PS Down In Havana Track 1 SS.ETC.17.JB Step Inside Love Ad-Lib PS Turn Me On Dead Man Disc 2 Track 11 SS.ETC.17.Anth Step Inside Love Ad-Lib Anthology Version Faded out for Anthology before completion. PS Anthology 3 Disc 1 Track 23 SS.ETC.18.JB Los Paranoias Ad-Lib

PS Turn Me On Dead Man Disc 2 Track 12 SS.ETC.18.Anth Los Paranoias Ad-Lib Anthology Version Faded out for Anthology before completion. PS Anthology 3 Disc 1 Track 23 SS.ETC.NS A Beginning RS(From Yellow Submarine) PS Anthology 3 Disc 1 Track 1 SS.ETC.18 Gone Tomorrow, Here Today Ad-Lib PS Gone Tomorrow Here Today Track 7 SS.ETC.NS You Came My Way Ad-Lib PS Gone Tomorrow Here Today SS.ETC.12 Brian Epstein Blues Ad-Lib PS Control Room Monitor Mixes Track 7 SS.ETC.19 The Way You Look Tonight Ad-Lib PS Turn Me On Dead Man Disc 2 Track 13 SS.ETC.21 Jamming (Fake?) PS Down In Havana Track 2 White Album Mono LP PS The Beatles (2 CD set) (mono) PMC 7067/7068 [Dr. Ebbetts Sound System] AS White Album Mono [Beat CD] Notes Back In The U.S.S.R.: The plane sound effects differ in mono and stereo. Mono has louder piano, a yell after the opening plane sound, and drumbeats under the closing plane sound. Stereo has extra guitar chords at the start of the solo, and shouts and piano during the guitar solo. Dear Prudence: Stereo has slightly more treble and fades to a lower volume at the end. Glass Onion: Stereo [a] is lacking Paul's added vocal "oh yeah" at the end of the break. Ob-La-Di Ob-La-Da: The mono lacks handclaps in the intro, heard in stereo. Wild Honey Pie: Of the two vocal tracks, one is louder in stereo, the other in mono. While My Guitar Gently Weeps: The Clapton guitar remains loud in mono after the solo break, not in stereo. Near the end of the fadeout only the stereo has "yeah yeah yeah", even though it is a few second shorter than mono. Happiness Is A Warm Gun: The 2d generation master is an edit of (copies of) two takes with more material overdubbed. Mono has tapping (organ) on the beat from the start until the drums come in, but it is soft and mixed out 4 beats earlier in stereo. In the "I need a fix" section in stereo, by error, although the first

line was mixed out, the last "down" is just audible. Mono has louder bass in the "I need a fix" section. Mono has laughter near the very end, just before the last drumbeat, not heard in stereo. Im So Tired: Paul's harmony at the first "You'd say" is louder in mono. Blackbird: The overdubs of bird sounds were done differently, during mixing. So they sound different (place and sound) in mono and stereo. Piggies: The overdubs of pig sounds differ. The guitar is louder in mono. Dont Pass Me By: Mono runs faster, and it has more fiddle throughout the song, and different fiddle at the end. The fiddle at the end of stereo seems to a repeat of a bit of the chorus. The edit added the intro. Why Dont We Do It In The Road: Mono lacks handclaps in the intro. I Will: The "bass" (vocal) starts later in mono, after the first verse. Birthday: The last "daaaance" starts twice, maybe a double-track error or a leak from a guide vocal, as heard on stereo, but covered up by other sound in mono. Yer Blues: The 2d generation tape is an edit of two takes, each of the two tapes being itself a mixdown from the original 4-track. The edit causes an abrupt transition at the end of the guitar solos. In stereo, traces of other vocal and guitar parts can be heard throughout the song in the left channel, including something shouted over parts of the vocal and what sounds like another different guitar solo. After the edit, the trace lead vocal suggests we are hearing the first part of the song from the other take. The edit in the mixes added the countdown intro, which is louder in mono. Mono is 11 seconds longer, long fade. Everybodys Got Something To Hide Except Me And My Monkey: The screaming after "come on" in the last verse is different in mono and stereo. Sexy Sadie: Stereo has an extra tap at the start. Mono lacks bass until the vocal starts. Helter Skelter: The basic song runs about 3:10 to a pause shortly after Paul's distorted vocal, too close to the microphone. Mono then is edited into more of the same take, with sound effects noises, and fades at 3:36. Stereo is edited instead to a different part of the take, fading out and then back in again, with another edit, ending finally at 4:29 after Ringo shouts "I've got blisters on my fingers!". Is the distorted vocal "Can you hear me speaking-- woo!" or "My baby is sleeping, ooh!, dreaming"?. Long Long Long: Doubletracking starts at the first "long" in stereo, the third "long" in mono, and sounds somewhat different thereafter. In mono the rhythm guitar is softer but the lead guitar is louder, especially in the later part of the song. Honey Pie: Mono has the full lead guitar break, slightly shortened in stereo. Savoy Truffle: Mono has sound effects during the instrumental break, and the lead guitar continues through the break into the refrain after it. The organ is missing from the last verse in mono. Cry Baby Cry: The US Apple release has a drop in sound level during "by the children" in the last verse, probably a tape problem. Revolution 9: Although the mono was made from the stereo, the opening lines are more clear in mono: "I would've gotten claret for you but I've realized I've forgotten all about it, George, I'm sorry. Will you forgive me?". This is evidently a separate piece of tape added during mixing. Good Night: Stereo fades in; mono does not. White Album Stereo LP PS White Album CD White Album LP Other mixes and related

SS.WHI.01.RS76 Back In The U.S.S.R. RS for Rock And Roll LP SS.WHI.23.RS76 Helter Skelter RS for Rock And Roll LP PS Rock 'N' Roll Music SKBO 11537 [Dr., Ebbetts Sound Systems] AS Every Little Thing Vol.2 01: Disc 1 Track 5; 23: Disc 1 Track 15 SS.WHI.02.RS.Ed Dear Prudence Official RS edited for US Open Reel To Reel SS.WHI.03.RS.Ed Glass Onion Official RS edited for US Open Reel To Reel SS.WHI.14.RS.Ed Dont Pass Me By Official RS edited for US Open Reel To Reel SS.WHI.15.RS.Ed Why Dont We Do It In The Road Official RS edited for US Open Reel To Reel SS.WHI.19.RS.Ed Yer Blues Official RS edited for US Open Reel To Reel SS.WHI.23.RS.Ed Helter Skelter Official RS edited for US Open Reel To Reel SS.WHI.29.RS.Ed Revolution 9 Official RS edited for US Open Reel To Reel PS Every Little Thing Vol.3 02: Disc 1 Track 8; 03: Disc 1 Track 12; 14: Disc 1 Track 9; 15: Disc 2 Track 23; 19: Disc 2 Track 25; 23: Disc 1 Track 14; 29: Disc 2 Track 11 SS.WHI.10.Anth Im So Tired Anthology Edit SS.WHI.30.Anth Good Night Anthology Edit Edit of a June 28 piano outtake not listed in Lewisohn's books into a remix of the standard version. PS Anthology 3 10.Anth: Disc 1 Track 24; 30.Anth: Disc 1 Track 12 Get Back / Dont Let Me Down SP SS.PM2.09.RM Get Back Mono Mix PS Get Back / Dont Let Me Down CD SP SS.PM2.09.RS.SP Get Back Stereo Mix For SP The mono and stereo versions for the single are similar. After a pause, after a high "woo", they continue into a coda with half-spoken words into a fadeout. Mono fades slightly longer, but SP stereo is heard a second longer than usual on Capitol's "20 Greatest Hits". PS Past Masters 2 Track 9 SS.PM2.09.RS.LP Get Back Stereo Mix For LP This "Phil Spector version" is edited after the "woo" into speech recorded 30 Jan 1969, at the end of the last "rooftop" performance of Get Back: "(cheers) Thanks Mo. . . we hope we passed the audition". PS see Let It Be Stereo LP SS.PM2.10.RM Dont Let Me Down Mono Mix PS Get Back / Dont Let Me Down CD SP SS.PM2.10.RS Dont Let Me Down Stereo Mix PS Past Masters 2 Track 10 The Ballad Of John & Yoko / Old Brown Show SP SS.PM2.11.RS The Ballad Of John & Yoko Stereo Mix

PS Past Masters 2 Track 11 SS.PM2.11.RS.Untr The Ballad Of John & Yoko Untrimmed Stereo Mix This is the single release of the stereo mix. Has a loud final drumbeat; it is faded on the other releases PS The Beatles 1 [EMI CD] SS.PM2.11.RM The Ballad Of John & Yoko Mono Mix (Fake?) PS The Worlds Best AS Every Little Thing Vol.1 Disc 1 Track 12 SS.PM2.12.Reh Old Brown Shoe Rehearsal PS Anthology 3 Disc 2 Track 13 SS.PM2.12.02 Old Brown Shoe Tk2 PS Mythology Vol.3 Disc 4 Track 21 AS Through Many Years; John Barret Cassetes Dubs SS.PM2.12.RS Old Brown Shoe Stereo Mix The dynamic range was greater on the single than the albums-- the solo is louder than the rest. PS Past Masters 2 Track 12 SS.ETC.22.Demo.JB All Things Must Pass JB Demo Tk2 PS Mythology Vol.3 Disc 4 Track 20 AS Through Many Years; John Barret Cassetes Dubs YN More Masters for enginners announcement SS.ETC.22.Demo.Anth All Things Must Pass Anthology Demo Tk2 PS Anthology 3 Disc 2 Track 10 Abbey Road LP Outtakes SS.AR.01.01 Come Together Tk1 PS Anthology 3 Disc 2 Track 17 SS.AR.02.Demo1 Something Demo Tk1 #1 PS Anthology 3 Disc 2 Track 16 SS.AR.02.Demo2 Something Demo Tk1 #2 PS Acetates Track 12

SS.AR.02.37 Something Tk37 PS No. 3 Abbey Road N.W. 8 OS Unsurpassed Masters Vol.5 (incorrect speed and fades) SS.AR.02.Promo Something Promo Stereo Mix PS Video 1 SS.AR.03.05 Maxwell Silver Hammer Tk5 PS Anthology 3 Disc 2 Track 15 SS.AR.03.21 Maxwell Silver Hammer Tk21 PS No. 3 Abbey Road N.W. 8 Track 14 OS Unsurpassed Masters Vol.5 (lacks pre-performance) SS.AR.04.26 Oh! Darling Tk26 PS No. 3 Abbey Road N.W. 8 Track 13 SS.AR.04.Ovd Oh! Darling Vocal Ovd on Tk26 PS Sink In The Can Track 2..Track 6 SS.AR.05.02 Octopus Garden Tk2 PS Anthology 3 Disc 2 Track 14 SS.AR.05.32 Octopus Garden Tk32 PS No. 3 Abbey Road N.W. 8 Track 9 SS.AR.06.Unk I Want You (Shes So Heavy) Unknown Pauls Vocal Possibly Fake PS Anthology Plus SS.AR.08.Capella.Half Because Ovd on Tk16 (Half Song A Capella) PS Abbey Road Video Show Track 24 AS Turn Me On Dead Man SS.AR.08.Capella.Whole Because Ovd on Tk16 (Whole Song A Capella) PS Unsurpassed Masters Vol.6 SS.AR.08.Capella.Anth Because Ovd on Tk16 (Whole Song A Capella) for Anthology PS Anthology 3 Disc 2 Track 20 SS.AR.09.30 You Never Give Me Your Money Tk30

SS.AR.09.RS2 You Never Give Me Your Money RS2(Tk30) PS No. 3 Abbey Road N.W. 8 30: Track 12; RS2: Track 17 SS.AR.10.RS2 Sun King RS2(Tk35) PS No. 3 Abbey Road N.W. 8 Track 17 SS.AR.11.RS2 Mean Mr. Mustard RS2(Tk35) PS No. 3 Abbey Road N.W. 8 Track 17 SS.AR.12.RS2 Polythene Pam RS2(Tk40) PS No. 3 Abbey Road N.W. 8 Track 17 SS.AR.13.RS2 She Came In Through The Bathroom Window RS2(Tk40) PS No. 3 Abbey Road N.W. 8 Track 18 SS.AR.14.17 Golden Slumbers Tk17 SS.AR.14.RS2 Golden Slumbers RS2(Tk17) PS No. 3 Abbey Road N.W. 8 17: Track 11; RS2: Track 18 SS.AR.15.17 Carry That Weight Tk17 SS.AR.15.RS2 Carry That Weight RS2(Tk17) PS Unsurpassed Masters Vol.5 17: Track 2; RS2: Track 18 SS.AR.16.07 The End Tk7 PS Abbey Road Talks Vinyl LP Side 2 SS.AR.16.RS1 The End RS1(Tk17) PS No. 3 Abbey Road N.W. 8 Track 18 SS.AR.17.RS1 Her Majesty RS1(Tk7) PS No. 3 Abbey Road N.W. 8 Track 17 SS.ETC.23a Come And Get It Sessions Mix PS Anthology 3 Disc 2 Track 18 SS.ETC.23b Come And Get It Alternate Sessions Mix PS Mythology Vol.3 Disc 4 Track 23 AS Another Sessions..Plus SS.ETC.24 Aint She Sweet Ad-Lib PS Anthology 3 Disc 2 Track 19

Abbey Road Other mixes and related SS.AR.16.Anth The End Anthology Remix Tk7 PS Anthology 3 Disc 2 Track 23 Abbey Road Stereo LP PS Abbey Road CD Let It Be LP Outtakes SS.LIB.04.Rough1 I Me Mine PS Acetates Track 13 SS.LIB.04.Rough2 I Me Mine PS Anthology 3 Let It Be Stereo LP PS Let It Be CD Let It Be Other mixes and related SS.LIB.06.RS.SP Let It Be RS for Single This "single mix" uses lead guitar overdubbed April 1969, ignoring the new lead guitar track recorded earlier the same day, while the LP mix uses the lead guitar overdubbed Jan 4; both use horns from January 1970, the LP mix more prominently. The LP mix has a repeat of the last chorus edited in. PS Let It Be / You Know My Name CD SP AS Every Little Thing Vol.2 Disc 1 Track 10 NT In Every Little Thing Vol.2 Disc 1 Track 9 is a mono mix from a japanese SP The Get Back Album: All recordings were made in 1969 at Apple Studios, London beetween Wednesday, January 22nd and friday, January 31st. working right through the weekend. The rooftop concert took place on the 30th. And was mixed by Glyn Johns in its entirety on February 5th. On April 30th. A new guitar solo was overdubbed onto Let It Be. a) The March 10th Acetate Glyn Johns first attempt at Let It Be remixes (except for the rooftop) occurred on March 10th, 1969. Johns then took the best of his days efforts and had them pressed to acetates for The Beatles to evaluate. Also known as the WBCN Acetates (after the Boston radio station that aired it). This disk is the only having The Walk, and contained: SS.GB.01 Get Back SS.GB.02 Ive Got A Feeling SS.GB.03 Teddy Boy SS.GB.04 Two Of Us SS.GB.05 Dig A Pony SS.GB.06 Ive Got A Feeling

SS.GB.07 The Long And Winding Road SS.GB.08 Let It Be SS.GB.09 Dont Let Me Down SS.GB.10 For You Blue SS.GB.11 Get Back SS.GB.12 The Walk PS Get Back, Glyns [Masterdisc] b) The March 13th Acetate Glyn Johns continued his Let It Be remixing for three more days, March 11th-13th, 1969. Again, Glyns had the best of his efforts pressed to acetate, including: SS.GB.13 Let It Be SS.GB.14 Ive Got A Feeling SS.GB.15 Dig It SS.GB.16 Maggie Mae SS.GB.17 Rit It Up / Shake, Rattle And Roll SS.GB.18 Miss Ann / Kansas City / Lowdy Miss Clawdy SS.GB.19 Blue Suede Shoes SS.GB.20 You Really Got A Hold On Me PS Get Back, Glyns [Masterdisc] c) The 1st. Get Back LP In May, Johns was ready to put together a test pressing of the new LP, still known as Get Back. May 7th. was spent mixing little bits and pieces of chat to be inserted between the tracks. May 9th saw the completition of this task, and a playback of all the titles completed at that point. On May 28th a stereo remix of Let It Be was produced, and the tape master of the first Get Back LP was compiled. The lineup was: SS.GB.21 One After 909 SS.GB.22 Im Ready SS.GB.23 Save The Last Dance For Me SS.GB.23 Dont Let Me Down from SS.GB.09 SS.GB.25 Dig A Pony SS.GB.26 Ive Got A Feeling SS.GB.27 Get Back SS.GB.28 For You Blue SS.GB.29 Teddy Boy SS.GB.30 Two Of Us SS.GB.31 Maggie Mae from SS.GB.16 SS.GB.32 Dig It SS.GB.33 Let It Be SS.GB.34 The Long And Winding Road SS.GB.35 Get Back (reprise) PS Thirty Days Vol.17 AS Get Back, Glynis [Masterdisc] d) The 2nd. Get Back LP In January of 1970 Johns produced his final version of the Get Back LP by now the Let It Be film was completed, and two tracks featured in the movie had to be readied for inclusion in the LP. I Me Mine ws recorded January 3rd. and mixed on the 5th. For Across The Universe Johns returned to the original February 1968 recording and remixed it on January 5th. The lineup now was:

SS.GB.36 One After 909 from SS.GB.21 SS.GB.37 Im Ready from SS.GB.22 SS.GB.38 Save The Last Dance For Me from SS.GB.23 SS.GB.39 Dont Let Me Down from SS.GB.09 SS.GB.40 Dig A Pony from SS.GB.25 SS.GB.41 Ive Got A Feeling from SS.GB.26 SS.GB.42 Get Back from SS.GB.27 SS.GB.43 Let It Be from SS.GB.33 SS.GB.44 For You Blue from SS.GB.28 SS.GB.45 Two Of Us from SS.GB.30 SS.GB.46 Maggie Mae from SS.GB.16 SS.GB.47 Dig It from SS.GB.32 SS.GB.48 The Long And Winding Road SS.GB.49 I Me Mine SS.GB.50 Across The Universe SS.GB.51 Get Back (reprise) from SS.GB.35 PS Get Back, The Glyn Johns Final Compilation AS Get Back, Glynis [Masterdisc] e) The John Barret Tapes In 1982 Abbey Road Engineer John Barret copied a myriad of Beatles studio session tapes for his own pleasure, including the complete 2nd. Get Back LP and the tracks: SS.GB.52 Teddy Boy SS.GB.53 Blue Suede Shoes SS.GB.54 Mailman, Bring Me No More Blues SS.GB.55 Miss Ann / Kansas City / Lowdy Miss Clawdy SS.GB.56 Not Fade Away SS.GB.57 Rit It Up / Shake, Rattle And Roll PS Turn Me On Dead Man AS Get Back, Glynis [Masterdisc] f) The Sessions LP In 1984, Geoff Emerick produced the aborted Sessions album, wich included the Let It Be track: SS.GB.58 Mailman, Bring Me No More Blues PS Get Back, Glyns [Masterdisc] Christmas Records SS.CHR.01.Flex The Beatles Christmas Record Flexi Disc PS From Then To You CD SS.CHR.02.Out1 Another Beatles Christmas Record Speech Tk1 + Outtake PS The Ultimate Beatles Christmas Collection SS.CHR.02.Out2 Another Beatles Christmas Record Another Outtake PS Vinyl To The Core

SS.CHR.02.Flex Another Beatles Christmas Record Flexi Disc PS From Then To You CD SS.CHR.02.Imp Hello Dolly PS The Ultimate Beatles Christmas Collection SS.CHR.03.Flex The Beatles Third Christmas Record Flexi Disc PS From Then To You CD SS.CHR.04.Flex Everywhere Its Christmas Flexi Disc PS From Then To You CD SS.CHR.05.01 Christmas Time Is Here Again Music Tk1 PS The Ultimate Beatles Christmas Collection Disc 2 Track 9 SS.CHR.05.Flex Christmas Time Is Here Again Flexi Disc PS From Then To You CD SS.CHR.05.Anth Christmas Time Is Here Again Anthology Edited Mix PS Free As A Bird CD SP Track 4 SS.CHR.06.Flex 68 Christmas Record (Happy Christmas) Flexi Disc PS From Then To You CD SS.CHR.06.Reh1 Yock And Yono SS.CHR.06.Reh2 Onceuponatable PS The Ultimate Beatles Christmas Collection Reh1: Disc 2 Track 11; Reh2: Disc 2 Track 12 SS.CHR.07.Flex 69 Christmas Record Flexi Disc PS From Then To You CD

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Wildcat have the whole 1960 demos as complete as possible, but there are some pieces in better sound in other bootlegs (see later) The material in Alf Together Now is available in Garage Tapes, Maybe You Can Drive My Car and Vinyl To The Core in less quality. The Genuine Pig has got a copy of Vigotones The 1968 Demos with the same name. 1959 Philips Recordings HR.01 Thatll Be The Day HR.02 In Spite Of All The Danger PS Anthology 1 (01: Track 3; 02: Track 4) YN The Beatles Complete July 6, 1957 Apr-May 1960 (Part 1) have parts of both songs from a Buddy Holly TV Special and Anthology TV 1960 Demos HR.03 Ill Follow The Sun Disc 1Track 2 HR.04 (Improvisation) (7:42) Disc 2 Track 6 HR.05 (Improvisation) (11:06) Disc 2 Track 2 HR.06 Hallelujah! I Love Her So (0:17) Disc 2 Track 2 HR.07 Hallelujah! I Love Her So Disc 2 Track 2 HR.08 (Improvisation) (4:56) Disc 1 Track 17 HR.09 Thats An Important Number (Improvisation) (7:49) Disc 1 Track 16 HR.10 I Dont Need No Cigarette, Boy (Improvisation) (5:53) Disc 1 Track 15 HR.11 I Dont Know (Improvisation) (5:52) Disc 1 Track 14 HR.12 One After 909 Disc 2 Track 3 HR.13 Moovin n Groovin Disc 2 Track 4 HR.14 Ramrod Disc 2 Track 4 HR.15 (Improvisation) (11:44) Disc 2 Track 5 HR.16 (Improvisation) (17:40) Disc 2 Track 8 HR.17 Wild Cat (1:22) Disc 1 Track 1 HR.18 Ill Always Be In Love With You Disc 1 Track 1 HR.19 Youll Be Mine Disc 1 Track 4 HR.20 (Unknown) (0:09) Disc 1 Track 5 HR.21 Matchbox Disc 1 Track 5 HR.22 Wild Cat Disc 1 Track 2 HR.23 Some Days Disc 1 Track 6 HR.24 Cayenne Disc 1 Track 7 HR.25 One After 909 (1:26) HR.26 Well Darling Disc 1 Track 9 HR.27 You Must write Everyday Disc 1 Track 10 HR.28 Thats When Your Heartaches Begin Disc 1 Track 11 HR.29 Hello Little Girl Disc 1 Track 4 HR.30 The World Is Waiting For The Sunrise Disc1 Track 13 PS WildCat except HR.03, HR.18, HR.25, HR.29: PS Anthology Plus AS Puttin On The Style for Anthology Plus songs OS Anthology 1 for HR.07, HR.19, HR.24 (compressed and heavily edited); HR.30 1962 Cavern Rehearsals

HR.31 I Saw Her Standing There HR.32 One After 909 HR.33 One After 909 HR.34 Catswalk HR.35 Catswalk PS TUC Vol.1 Disk 1 Track 16..20 YN The Cavern Tapes Circa 1962 (fading longer in HR.33 and with more dialogue after HR.35/34) 1963 Demos HR.36 Bad To Me PS Vinyl To The Core D1 Track 8 OS Acetates (Noise reduction and lacks of pre-song chatter) HR.37 Im In Love HR.37.BK Im In Love Billy J. Kramer Recording Session PS HR.37: Arrive Without Aging Track 13; HR.37.BK: The Best Of Billy J. Kramer And The Dakotas CD HR.38 Dont Bother Me Track 8 HR.39 (Instrumental) (0:22) Track 10 HR.40 (Instrumental) (2:30) Track 12 HR.41 Michelle Track 13 HR.42 (Instrumental) (0:14) Track 14 HR.43 (Instrumental) (1:20) Track 15 HR.44 (Instrumental) (1:06) Track 16 HR.45 Three Coins In A Fountain Track 17 HR.46 Rockin And Rollin Track 19 & Track 20 HR.47 Rockin And Rollin Track 21 HR.48 Rockin And Rollin Track 23 HR.49 Tammy Track 33 HR.50 Over The Rainbow Track 34 HR.NS.01 The Bible Bit HR.NS.02 Out In The Street HR.NS.03 Raga PS Alf Together Now 1964 Demos HR.52 If I Fell Track 2 HR.53 If I Fell Track 3 HR.54 If I Fell Track 4 HR.55 If I Fell Track 5 HR.56 If I Fell Track 6 HR.NS.04 Listening To The Radio PS Alf Together Now HR.51 One And One Is Two PS Acetates Track 2

HR.57 Talking Guitar Blues Disk 1 Track 19 HR.58 Talking Guitar Blues Disk 1 Track 19 HR.59 Bouree Disk 1 Track 30 PS Vinyl To The Core 1965 Demos HR.60 We Can Work It Out Track 3 HR.61 Michelle Track 4 PS Revolution 1966 Demos HR.62 He Said He Said PS Vinyl To The Core Disc 2 Track 11 (S. Lost Lennon Tapes Vol.24 Vinyl) OS Revolving NT Unavailable more than the half of the original tape HR.63 She Said She Said PS From Me To You Track 18 AS Vinyl To The Core OS Revolving HR.64 Hold On, Im Coming (1:02) HR.65 Mr. Moonlight (5:00) PS Unavailable HR.66 Am Sonntag Will Mein Suesser Mit Mir Segein Gehn PS Die Beatles In Deutschland 1966! Track 2 Mellotron Improvisations HR.67 Mellotron Improvisation 0:34 HR.68 Mellotron Improvisation 2:25 HR.69 Mellotron Improvisation 5:16 HR.70 Mellotron Improvisation 2:02 PS Unavailable HR.71 Mellotron Improvisation 1:29 Track 1 HR.72 Mellotron Improvisation 0:29 Track 10 HR.73 Mellotron Improvisation 0:21 Track 14 PS Revolution HR.74 Mellotron Improvisation 1:47 Track 11 HR.75 Mellotron Improvisation 1:44 Track 20 PS Lost Pepperland Reel

HR.76 Kenwood Sequence (14:30) PS Unavailable except I: Lucy From Littletown (Revolution Track 3); L: Down In Cuba (HR.81); R: Pedro The Fisherman (Lost Lennon Tapes 30/31/32 Disk 2 Track 6) AS Nothing Is Real (Private Tapes 1965 - 1967) Track 23 HR.77 Chi-Chis PS Vinyl To The Core Disk 2 Track 22 OS Lost Pepperland Reel (slightly shorter) HR.78 John And Ringo (10:00) PS Unavailable HR.79 Daddys Little Sunshine Boy PS Vinyl To The Core Disc 2 Track 23 HR.80 Stranger In My Arms PS Revolution Track 16 HR.81 Down In Cuba PS Vinyl To The Core Disc 2 Track 24 Strawberry Fields Forever Demos Strawberry Lane (Silent Sea SS069/70) has all this material. I dont know the quality level compared the Primary Sources. HR.82 Strawberry Fields Forever Tk1 Track 2 HR.83 Strawberry Fields Forever Tk2 Track 3 HR.84 Strawberry Fields Forever Tk3 Track 4 HR.85 Strawberry Fields Forever Tk4 Track 5 HR.86 Strawberry Fields Forever Tk5 Track 6 HR.87 Strawberry Fields Forever Tk6 Track 6 HR.88 Strawberry Fields Forever Fragment Track 7 HR.89 Strawberry Fields Forever Electric Guitar Ovd onto Rehearsal Track 8 HR.90 Strawberry Fields Forever Electric Guitar Ovd onto Demo Track 9 HR.91 Strawberry Fields Forever Demo Playback Track 10 HR.92 Strawberry Fields Forever Vocal Ovd onoto Demo Track 11 HR.93 Strawberry Fields Forever Demo Playback Track 12 HR.94 Strawberry Fields Forever Electric Guitar Demo, Take 1 Track 13 HR.95 Strawberry Fields Forever Electric guitar composing Tape Take2 to Take 7 Track 14 HR.96 Strawberry Fields Forever Electric Guitar Take 8 Track 15 HR.97 Strawberry Fields Forever Mellotron Rehearsals Track 16 PS Its Not Too Bad 1967 Demos HR.98 Good Morning Good Morning PS Lost Pepperland Reel Track 9

OS Lost Lennon Tapes Vol.4 (Shorter) HR.99 Across The Universe (1:30) PS Lost Pepperland Reel Track 17 HR.100 Shes Walking Past My Door HR.101 You Know My Name (Look Up The Number) PS Lost Pepperland Reel Track 18 HR.102 Jessies Dream PS Fanthology Disc1 Track 13 HR.103 Step Inside Love PS Vinyl To The Core Disc 2 Track 25 (S. Abbey Road Revisited LP) OS Artifacts II (S. Vinyl) HR.104 Hey Bulldog (1:23) PS Lost Pepperland Reel Track 15 HR.105 Hey Bulldog (1:52) PS Lost Pepperland Reel Track 16 HR.106 Cry Baby Cry (0:49) HR.107 Cry Baby Cry (0:50) HR.108 Across The Universe (0:25) HR.109 Cry Baby Cry (0:17) HR.110 Across The Universe (0:09) HR.111 Cry Baby Cry (0:52) PS Arrive Without Aging Track 23 India Demos HR.112 When The Saints Go Marchin In HR.113 You Are My Sunshine HR.114 Jingle Bells HR.115 Shell Be Comin Around The Mountain HR.116 Happiness Runs HR.117 (Instrumental) HR.118 Blowin In The Wind HR.119 Hare Krishna Mantra HR.120 O Sole Mio HR.121 Catch The Wind PS Make As Much Noise As You Like! Track 24 HR.122 Spiritual Regeneration HR.123 Happy Birthday PS Vinyl To The Core Disc 2 Track 29

OS Strawberry Fields Forever CD or LP (Slight better quality here, but Its not all the music there since the narrator voiceover parts have been eliminated) 1968 1st. Half Demos HR.124 Julia HR.125 Julia HR.126 Julia HR.127 Julia PS 124,125: Revolution Track 15; 126 The 1968 Demos Track 17; 127 Unsurpassed Demos Track 24 Kinfaus Demos HR.128 Julia Disk 1 Track 1 HR.129 Blackbird Disk 1 Track 2 HR.130 Rocky Raccoon Disk 1 Track 3 HR.131 Back In The USSR Disk 1 Track 4 HR.132 Honey Pie Disk 1 Track 5 HR.133 Mother Natures Son Disk 1 Track 6 HR.134 Ob-La-Di Ob-La-Da Disk 1 Track 7 HR.135a Junk Disk 1 Track 8 HR.135b Junk Disk 1 Track 7 HR.136 Dear Prudence Disk 1 Track 9 HR.137 Sexy Sadie Disk 1 Track 10 HR.138 Cry Baby Cry Disk 1 Track 11 HR.139 On The Road To Marrakesh Disk 1 Track 12 HR.140 The Continuing Story Of Bungalow Bill Disk 1 Track 13 HR.141 Im So Tired Disk 1 Track 14 HR.142 Yer Blues Disk 1 Track 15 HR.143 Everybodys Got Something To Hide Except Me And My Monkey Disk 1 Track 16 HR.144 Whats The New Mary Jane Disk 1 Track 17 HR.145 Revolution Disk 1 Track 18 HR.146 While My Guitar Gently Weeps Disk 1 Track 19 HR.147 Circles Disk 1 Track 20 HR.148 Sour Milk Sea Disk 1 Track 21 HR.149 Not Guilty Disk 1 Track 22 HR.150 Piggies Disk 1 Track 8 HR.151 Happiness Is A Warm Gun Disk 1 Track 2 HR.152 Mean Mr.Mustard Disk 1 Track 4 HR.153 Polythene Pam Disk 1 Track 5 HR.154 Glass Onion Disk 1 Track 6 PS From Kinfaus To Chaos Except 135b,150,151,152,153,154: Anthology 3 1968 2nd. Half Demos HR.155 A Case Of The Blues Track 21 HR.156 Dont Let Me Down Track 18 HR.157 Dont Let Me Down Track 19 PS The 1968 Demos HR.158 Ive Got A Feeling Disc 2 Track 33 HR.159 Ive Got A Feeling Disc 2 Track 34

PS Vinyl To The Core YN The 1968 Demos Track 20 for 158 (lasts bit longer, but less begining than Vinyl To The Core) 1969 Demos HR.NS Goodbye PS Acetates Track 11

BBC
Teenagers Turn Here We Go (Playhouse Theatre, Manchester) R: 7 Mar 62 B: 8 Mar 62 BBC.01.01 Memphis BBC.01.02 Dream Baby (How Long Must I Dream) BBC.01.03 Please Mr. Postman PS The Complete BBC Sessions (Upgraded) OS Attack Of The Filler Beebs Episode 1 (01: Track 2, 02: Track 1, 03: Track 3) Teenagers Turn Here We Go (Playhouse Theatre, Manchester) R: 11 Jun 62 B: 15 Jun 62 BBC.02.01 Ask Me Why BBC.02.02 Besame Mucho BBC.02.03 A Picture Of You PS The Complete BBC Sessions (Upgraded) OS Attack Of The Filler Beebs Episode 1 (01: Track 4, 02: Track 5, 03: Track 6) Here We Go (Playhouse Theatre, Manchester) R: 25 Oct 62 B: 26 Oct 62 BBC.03.01 Love Me Do BBC.03.02 A Taste Of Honey BBC.03.03 P.S. I Love You PS Unavailable The Talent Spot R: 27 Nov 62 B: 4 Dec 62 BBC.04.01 Love Me Do BBC.04.02 P.S. I Love You BBC.04.03 Twist And Shout PS Unavailable Here We Go (Playhouse Theatre, Manchester) R: 16 Jan 63 B: 25 Jan 63 BBC.05.01 Chains BBC.05.02 Please Please Me BBC.05.03 Ask Me Why PS Unavailable Satuday Club (Playhouse Theatre, London) R: 22 Ene 63 B:26 Jan 63 BBC.06.01 Some Other Guy BBC.06.02 Love Me Do BBC.06.03 Please Please Me unavailable BBC.06.04 Keep Your Hands Off My Baby BBC.06.05 Beatiful Dreamer PS 01,05: The Complete BBC Sessions (Upgraded); 02: The Beatles Broadcast Collection Vol.1 Disc 1 Track 1; 04: Live At the BBC Disc 1 Track 6

The Talent Spot R: 22 Jan 63 B: 29 Jan 63 BBC.07.01 Please Please Me BBC.07.02 Ask Me Why BBC.07.03 Some Other Guy PS Unavailable Parade Of The Pops R: 20 Feb 63 B: Live BBC.08.01 Love Me Do BBC.08.02 Please Please Me PS Unavailable Here We Go (Playhouse Theatre, Manchester) R: 6 Mar 63 B: 12 Apr 63 BBC.09.01 Misery Track 2 BBC.09.02 Do You Want To Know A Secret Track 3 BBC.09.03 Please Please Me Track 4 PS Here We Go (Great Dane CD) AS Attack Of The Filler Beebs, Episode One Satuday Club (Studio 3A, Broadcasting House, London) R: 16 Mar 63 B: Live BBC.10.01 I Saw Her Standing There BBC.10.02 Misery BBC.10.03 Too Much Monkey Bussiness BBC.10.04 Im Talking About You BBC.10.05 Please Please Me BBC.10.06 The Hippy Hippy Shake PS 01,02,05,06 The Complete BBC Sessions (Upgraded); 03: The Complete BBC Sessions Disc 1 Track 12; 04: Deflating The Mythology Disc 1 Track 3 On The Scene R: 21 Mar 63 B: 28 Mar 63 BBC.11.01 Misery BBC.11.02 Do You Want To Know A Secret BBC.11.03 Please Please Me PS Unavailable Easy Beat (Playhouse Theatre, London) R: 3 Abr 63 B: 7 Apr 63 BBC.12.01 Please Please Me Unavailable BBC.12.02 Misery Unavailable BBC.12.03 From Me To You PS The Complete BBC Sessions Disc 1 Track 16 Swingin Sound 63 (Royal Albert Hall) R: 18 Abr 63 B: Live BBC.13.01 Twist And Shout BBC.13.02 From Me To You

PS The Complete BBC Sessions Disc 1 Track 17 and 18 Side By Side 1st. Show (BBC Picadilly Studios) R: 01 Abr 63 B: 22 Apr 63 BBC.14.01 I Saw Her Standing There BBC.14.02 Do You Want To Know A Secret BBC.14.03 Baby Its You BBC.14.04 Please Please Me BBC.14.05 From Me To You BBC.14.06 Misery PS Unavailable Side By Side 2nd. Show (BBC Picadilly Studios) R: 01 Abr 63 B: 13 May 63 BBC.15.01 Side By Side BBC.15.02 From Me To You unavailable BBC.15.03 Long Tall Sally Disc 1 Track 20 BBC.15.04 A Taste Of Honey Disc 1 Track 21 BBC.15.05 Chains Disc 1 Track 22 BBC.15.06 Thank You Girl Disc 1 Track 23 BBC.15.07 Boys (Incomplete) Disc 1 Track 24 PS The Complete BBC Sessions except 01: The Beatles Broadcast Collection Trailer I Disc 1 Track 2 AS Vinyl To The Core for The Beatles Broadcast Collection Trailer Saturday Club (Playhouse Theatre, London) R: 21 May 63 B: 25 May 63 BBC.16.01 I Saw Her Standing There BBC.16.02 Do You Want To A Secret BBC.16.03 Boys BBC.16.04 Long Tall Sally BBC.16.05 From Me To You BBC.16.06 Money (Thats What I Want) PS The Complete BBC Sessions Disc 1 Track 25..Track 30 Steppin Out (Playhouse Theatre, London) R: 21 May 63 B: 3 Jun 63 BBC.17.01 Please Please Me BBC.17.02 I Saw Her Standing There BBC.17.03 Roll Over Beethoven unavailable BBC.17.04 Thank You Girl unavailable BBC.17.05 From Me To You unavailable PS The Complete BBC Sessions Disc 1 Track 31 and Track 32 Pop Go The Beatles #1 (Studio Two, Aeolian Hall, London) R: 24 May 63 B: 4 Jun 63 BBC.18.01 From Me To You unavailable BBC.18.02 Everybodys Trying To Be My Baby BBC.18.03 Do You Want To A Secret BBC.18.04 You Really Got A Hold On Me BBC.18.05 Misery BBC.18.06 The Hippy Hippy Shake

BBC.18.07 Pop Go The Beatles PS The Complete BBC Sessions Disc 2 Track 2..Track 6 (S. 02,03,04 Tape; 05,06 Outakes Vol.1 TMOQ LP) except 07: Vinyl To The Core Disc 1 Track 9 Pop Go The Beatles #2 (BBC Paris Studios, London) R: 1 Jun 63 B: 11 Jun 63 BBC.19.01 Too Much Monkey Bussiness Disc 2 Track 8 BBC.19.02 I Got To Find My Baby Disc 2 Track 9 BBC.19.03 Youngblood Disc 2 Track 10 BBC.19.04 Baby Its You Disc 1 Track 14 BBC.19.05 Till There Was You Disc 2 Track 12 BBC.19.06 Love Me Do Disc 2 Track 13 PS The Complete BBC Sessions except Baby Its You: Live At The BBC Pop Go The Beatles #3 (BBC Paris Studios, London) R: 1 Jun 63 B: 18 Jun 63 BBC.20.01 A Shot Of Rythm And Blues Disc 2 Track 14 BBC.20.01 Memphis Disc 2 Track 15 BBC.20.01 A Taste Of Honey Disc 2 Track 16 BBC.20.01 Sure To Fall Disc 1 Track 10 BBC.20.01 Money (Thats What I Want) Disc 2 Track 18 BBC.20.01 From Me To You Disc 2 Track 19 PS The Complete BBC Sessions except Sure To Fall: Live At The BBC Easy Beat (Playhouse Theatre, London) R: 19 Jun 63 B: 23 Jun 63 BBC.21.01 Some Other Guy BBC.21.02 A Taste Of Honey BBC.21.03 Thank You Girl BBC.21.04 From Me To You PS 01,03: Live At The BBC Track 11,12; 02,03: The Complete BBC Sessions Track 21,23 Side By Side (BBC Paris Studio, London) R: 4 Abr 63 B: 24 Jun 63 BBC.22.01 Side By Side Disc 1 Track 7 BBC.22.02 Too Much Monkey Business Disc 2 Track 24 BBC.22.03 Love Me Do unavailable BBC.22.04 Boys Disc 2 Track 25 BBC.22.05 Ill Be On My Way Disc 2 Track 26 BBC.22.06 From Me To You Disc 2 Track 27 PS The Complete BBC Sessions except 01: Vinyl To The Core Pop Go The Beatles #4 (Maida Vale Studios, London) R: 17 Jun 63 B: 25 Jun 63 BBC.23.01 I Saw Her Standing There Disc 2 Track 29 BBC.23.02 Anna (Go To Him) Disc 2 Track 28 BBC.23.03 Boys Track 4 BBC.23.04 Chains Disc 1 Track 15 BBC.23.05 P.S. I Love You Disc 1 Track 14 BBC.23.06 Twist And Shout Disc 1 Track 15

PS 01,02: The Complete BBC Sessions 03: Baby Its You CD EP; 04: The Beatles Broadcast Collection Trailer I; 05,06: Radio Sessions 1962-1965 CD (Masterdisc) AS 05,06: Vinyl To The Core OS 03,04,05,06: The Complete BBC Sessions Saturday Club (Playhouse Theatre, London) R: 24 Jun 63 B: 29 Jun 63 BBC.24.01 I Got To Find My Baby Disc 3 Track 1 BBC.24.02 Memphis Disc 3 Track 2 BBC.24.03 Money Disc 3 Track 3 BBC.24.04 Till There Was You Disc 3 Track 4 BBC.24.05 From Me To You Disc 3 Track 5 BBC.24.06 Roll Over Beethoven Disc 3 Track 6 PS The Complete BBC Sessions The Beat Show (Playhouse Theatre, London) R: 3 Jul 63 B: 4 Jul 63 BBC.25.01 From Me To You unavailable BBC.25.02 A Taste Of Honey Disc 3 Track 7 BBC.25.03 Twist And Shout Disc 3 Track 8 PS The Complete BBC Sessions Pop Go The Beatles #5 (Maida Vale Studios, London) R: 2 Jul 63 B: 16 Jul 63 BBC.26.01 Thats All Right (Mama) Disc 3 Track 9 BBC.26.02 Theres A Place Disc 3 Track 10 BBC.26.03 Carol Disc 3 Track 11 BBC.26.04 Soldier Of Love (Lay Down Your Arms) Disc 3 Track 12 BBC.26.05 Lend Me Your Comb Disc 3 Track 13 BBC.26.06 Clarabella Disc 3 Track 14 PS The Complete BBC Sessions Easy Beat (Playhouse Theatre, London) R: 17 Jul 63 B: 21 Jul 63 BBC.27.01 I Saw Her Standing There Disc 3 Track 15 BBC.27.02 A Shot Of Rythm And Blues Disc 3 Track 16 BBC.27.03 Theres A Place Disc 3 Track 17 BBC.27.04 Twist And Shout Disc 3 Track 18 PS The Complete BBC Sessions Pop Go The Beatles #6 (Aeolian Hall, London) R: 10 Jul 63 B: 23 Jul 63 BBC.28.01 Sweet Little Sixteen Disc 1 Track 5 BBC.28.02 A Taste Of Honey Disc 1 Track 6 BBC.28.03 Nothin Shakin (But The leaves On The Trees) Disc 1 Track 7 BBC.28.04 Love Me Do Disc 1 Track 8 BBC.28.05 Lonesome Tears In My Eyes Disc 1 Track 9 BBC.28.06 So How Come (No One Loves Me) Disc 1 Track 10 PS The Beatles Broadcast Collection Trailer I

OS Live At The BBC Pop Go The Beatles #7 (Aeolian Hall, London) R: 10 Jul 63 B: 30 Jul 63 BBC.29.01 Memphis Disc 1 Track 30 BBC.29.02 Do You Want To Know A Secret Disc 1 Track 12 BBC.29.03 Till There Was You Disc 3 Track 26 BBC.29.04 Matchbox Disc 2 Track 26 BBC.29.05 Please Mr. Postman Disc 3 Track 28 BBC.29.06 The Hippy Hippy Shake Disc 2 Track 14 PS 01,04,06: Live At The BBC; 02: The Beatles Broadcast Collection Trailer I; 03,05: The Complete BBC Sessions OS 01,02,04,06: The Complete BBC Sessions Pop Go The Beatles #8 (BBC Paris Studio, London) R: 16 Jul 63 B: 6 Aug 63 BBC.30.01 Im Gonna Sit Right Down And Cry (Over You) Disc 1 Track 20 BBC.30.02 Crying, Waiting, Hoping Disc 1 Track 21 BBC.30.03 Kansas City / Hey Hey Hey Hey! Disc 2 Track 24 BBC.30.04 To Know Her Is To Love Her Disc 1 Track 24 BBC.30.05 The Honeymoon Song Disc 1 Track 28 BBC.30.06 Twist And Shout Disc 4 Track 6 PS Live At The BBC except 06: The Complete BBC Sessions Pop Go The Beatles #9 (BBC Paris Studio, London) R: 16 Jul 63 B: 13 Aug 63 BBC.31.01 Long Tall Sally Disc 4 Track 7 BBC.31.02 Please Please Me Disc 4 Track 8 BBC.31.03 She Loves You Disc 4 Track 9 BBC.31.04 You Really Got A Hold On Me Disc 4 Track 10 BBC.31.05 Ill Get You Disc 4 Track 11 BBC.31.06 I Got A Woman Disc 1 Track 4 PS The Complete BBC Sessions except 06: Live At The BBC OS 01: Live At The BBC Pop Go The Beatles #10 (BBC Paris Studio, London) R: 16 Jul 63 B: 20 Aug 63 BBC.32.01 Words Of Love Disc 4 Track 14 BBC.32.02 Glad All Over Disc 2 Track 15 BBC.32.03 I Just Dont Understand Disc 2 Track 16 BBC.32.04 Devil In her Heart Track 3 BBC.32.05 Slow Down Disc 2 Track 33 PS 01: The Complete BBC Sessions; 02,03,05: Live At The BBC; 04: Baby Its You CD EP Saturday Club (Playhouse Theatre, London) R: 30 Jul 63 B: 24 Aug 63 BBC.33.01 Long Tall Sally Disc 4 Track 19 BBC.33.02 She Loves You Disc 4 Track 20 BBC.33.03 Glad All Over Disc 1 Track 24 BBC.33.04 Twist And Shout Disc 1 Track 25 BBC.33.05 You Really Got A Hold On Me Disc 1 Track 23

BBC.33.06 Ill Get You Disc 1 Track 23 PS 01,02: The Complete BBC Sessions (Upgraded); 03,04,06: Mythology Vol.1; 05: Live At The BBC AS Mything Pieces Disc 1 Track 6..Track 9 for Mythology Vol.1 YN The Beatles Broadcast Collection Trailer 1 for complete intro in Ill Get You Pop Go The Beatles #11 (Playhouse Theatre, Manchester) R: 1 Ago 63 B: 27 Aug 63 BBC.34.01 Ooh! My Soul Disc 2 Track 30 BBC.34.02 Dont Ever Change Disc 2 Track 32 BBC.34.03 Twist And Shout Disc 4 Track 25 BBC.34.04 She Loves You unavailable BBC.34.05 Anna (Go To Him) Disc 4 Track 26 BBC.34.06 A Shot Of Rythm And Blues Disc 1 Track 9 PS 01,02,06: Live At The BBC; 03,05: The Complete BBC Sessions Pop Go The Beatles #12 (Playhouse Theatre, Manchester) R: 1 Ago 63 B: 3 Sep 63 BBC.35.01 From Me To You Disc 5 Track 1 BBC.35.02 Ill Get You Disc 5 Track 32 BBC.35.03 Money Disc 5 Track 2 BBC.35.04 Theres A Place Disc 5 Track 3 BBC.35.05 Honey Dont Disc 2 Track 34 BBC.35.06 Roll Over Beethoven Disc 5 Track 5 PS 01,03,04,06 The Complete BBC Sessions; 02: The Complete BBC Sessions (Upgraded); 05: Live At The BBC Pop Go The Beatles #13 (Aeolian Hall, London) R: 3 Sep 63 B: 10 Sep 63 BBC.36.01 Too Much Monkey Business Disc 1 Track 5 BBC.36.02 Till There Was You unavailable BBC.36.03 Love Me Do Disc 5 Track 7 BBC.36.04 She Loves You Disc 5 Track 8 BBC.36.05 Ill Get You Disc 5 Track 9 BBC.36.06 A Taste Of Honey Disc 5 Track 10 BBC.36.07 The Hippy Hippy Shake Disc 5 Track 11 PS The Complete BBC Sessions except 01: Live At The BBC Pop Go The Beatles #14 (Aeolian Hall, London) R: 3 Sep 63 B: 17 Sep 63 BBC.37.01 Chains Disc 5 Track 12 BBC.37.02 You Really Got A Hold On Me Disc 5 Track 13 BBC.37.03 Misery Disc 5 Track 14 BBC.37.04 Lucille Disc 1 Track 16 BBC.37.05 From Me To You Disc 5 Track 16 BBC.37.06 Boys Disc 5 Track 17 PS The Complete BBC Sessions except 04: The Beatles Broadcast Collection Trailer 1 Pop Go The Beatles #15 (Aeolian Hall, London) R: 3 Sep 63 B: 24 Sep 63 BBC.38.01 Ask Me Why Disc 5 Track 19

BBC.38.02 Devil In Her Heart Disc 5 Track 20 BBC.38.03 I Saw Her Standing There Disc 5 Track 21 BBC.38.04 Sure To Fall Disc 5 Track 22 BBC.38.05 Twist And Shout Disc 5 Track 23 BBC.38.NS Goodbye Jingle PS The Complete BBC Sessions except NS: Vinyl To The Core OS NS: The Beatles Broadcast Collection Trailer 1 (slightly shorter but in better quality) Saturday Club (Playhouse Theatre, London) R: 7 Sep 63 B: 5 Oct 63 BBC.39.01 I Saw Her Standing There BBC.39.02 Memphis BBC.39.03 Happy Birthday Saturday Club BBC.39.04 Ill Get You BBC.39.05 She Loves You BBC.39.06 Lucille PS The Complete BBC Sessions Disc 5 Track 24..Track 29 Easy Beat (Playhouse Theatre, London) R: 16 Oct 63 B: 20 Oct 63 BBC.40.01 I Saw Her Standing There BBC.40.02 Love Me Do BBC.40.03 Please Please Me BBC.40.04 From Me To You BBC.40.05 She Loves You PS The Beatles Broadcast Collection Trailer 2 Disc 2 Track 15..Track 19 The Ken Dodd Show (BBC Paris Studio, London) R: 9 Oct 63 B: 3 Nov 63 BBC.41.01 She Loves You Disc 6 Track 6 PS The Complete BBC Sessions (Upgraded) Saturday Club (Playhouse Theatre, London) R: 17 Dec 63 B: 21 Dec 63 BBC.42.NS All I Want For Christmas Is A Bottle BBC.42.01 This Boy Disc 6 Track 8 BBC.42.02 I Want To Hold Your Hand Disc 6 Track 9 BBC.42.03 Till There Was You Disc 6 Track 10 BBC.42.04 Roll Over Beethoven Disc 6 Track 11 BBC.42.05 She Loves You Disc 6 Track 12 BBC.42.06 Crimble Medley Disc 6 Track 13 PS The Complete BBC Sessions From Us To You #1 (BBC Paris Studio, London) R: 18 Dic 63 B: 26 Dic 63 BBC.43.01 From Us To You Disc 6 Track 14 BBC.43.02 She Loves You Disc 6 Track 15 BBC.43.03 All My Loving Disc 6 Track 16 BBC.43.04 Roll Over Beethoven Disc 6 Track 17 BBC.43.05 Till There Was You Disc 6 Track 18 BBC.43.06 Boys Disc 6 Track 19

BBC.43.07 Money Disc 6 Track 20 BBC.43.08 I Saw Her Standing There Disc 6 Track 21 BBC.43.09 Tie Me Kangaroo Down, Sport Disc 2 Track 1 BBC.43.10 I Want To Hold Your Hand Disc 2 Track 2 BBC.43.11 From Us To You Disc 6 Track 24 PS The Complete BBC Sessions except 09,10: The Beatles Broadcast Collection Trailer 1 Saturday Club (Playhouse Theatre, London) R: 7 Ene 64 B: 15 Feb 64 BBC.44.01 All My Loving Disk 6 Track 25 BBC.44.02 Money Disk 6 Track 26 BBC.44.03 The Hippy Hippy Shake Disk 6 Track 27 BBC.44.04 Roll Over Beethoven Disk 6 Track 29 BBC.44.05 Johnny B. Goode Disk 6 Track 30 BBC.44.06 I Wanna Be Your Man Disk 6 Track 31 PS The Complete BBC Sessions NT After 03 was broadcasted BBC.42.01, I Want To Hold Your Hand. From Us To You #2 (Studio One, BBC Picadilly Studios, London) R: 28 Feb 64 B: 30 Mar 64 BBC.45.01 From Us To You Disk 7 Track 1 BBC.45.02 You Cant Do That Disk 7 Track 2 BBC.45.03 Roll Over Beethoven Disk 7 Track 3 BBC.45.04 Till There Was You Disk 7 Track 4 BBC.45.05 I Wanna Be Your Man Disk 7 Track 5 BBC.45.06 Please Mr. Postman Disk 7 Track 6 BBC.45.07 All My Loving Disk 7 Track 7 BBC.45.08 This Boy Disk 7 Track 8 BBC.45.09 Cant Buy Me Love Disk 1 Track 32 PS The Complete BBC Sessions except 09: Live At The BBC Saturday Club (Playhouse Theatre, London) R: 31 Mar 64 B: 4 Apr 64 BBC.46.01 Everybodys Trying to Be My Baby Disc 7 Track 11 BBC.46.02 I Call Your Name Disc 7 Track 12 BBC.46.03 I Got A Woman Disc 7 Track 13 BBC.46.04 You Cant Do That Disc 1 Track 23 BBC.46.05 Cant Buy Me Love Disc 7 Track 15 BBC.46.06 Sure To Fall (In Love With You) Disc 7 Track 16 BBC.46.07 Long Tall Sally Disc 7 Track 17 PS The Complete BBC Sessions except 04: Vinyl To The Core (S. The BBCs Beatles Tapes The Original Masters LP for US Radio Series) From Us To You #3 (BBC Paris Studios, London) R: 1 May 64 B: 18 May 64 BBC.47.01 From Us To You Disc 7 Track 18 BBC.47.NS Whit Monday To You Disc 7 Track 19 BBC.47.02 I Saw Her Standing There Disc 7 Track 20 BBC.47.03 Kansas City / Hey Hey Hey Hey Disc 7 Track 21 BBC.47.04 I Forgot To Remember To Forget Disc 7 Track 22 BBC.47.05 You Cant Do That Disc 7 Track 23 BBC.47.06 Sure To Fall (In Love With You) Disc 7 Track 24

BBC.47.07 Cant Buy Me Love Disc 7 Track 25 BBC.47.08 Matchbox Disc 7 Track 26 BBC.47.09 Honey Dont Disc 7 Track 27 PS The Complete BBC Sessions Top Gear (Studio S2, Broadcasting House, London) R: 14 Jul 64 B: 16 Jul 64 BBC.48.01 Long Tall Sally Disc 8 Track 2 BBC.48.02 Things We Said Today Track 13 BBC.48.03 A Hard Days Night Disc 2 Track 2 BBC.48.04 And I Love Her Disc 8 Track 5 BBC.48.05 If I Fell Disc 1 Track 9 BBC.48.06 You Cant Do That Disc 8 Track 8 PS 01,04,06: The Complete BBC Sessions; 02: The Beatles Broadcast Collection Trailer I; 03: Live At The BBC; 05: Mythology Vol.2 OS 02: Live At The BBC (Voiceover on intro); 03,05: The Complete BBC Sessions NT The official version of I Should Have known Better was broadcasted following And I Love Her From Us To You #4 (BBC Paris Studios, London) R: 17 Jul 64 B: 3 Aug 64 BBC.49.01a From Us To You Disc 8 Track 9 BBC.49.02a Long Tall Sally Disc 8 Track 10 BBC.49.03a If I Fell Disc 8 Track 11 BBC.49.04a Im Happy Just To Dance With You Disc 8 Track 12 BBC.49.05a Things We Said Today Disc 8 Track 13 BBC.49.06a I Should Have Known Better Disc 8 Track 14 BBC.49.07a Boys Disc 8 Track 15 BBC.49.08a Kansas City / Hey Hey Hey Hey Disc 8 Track 16 BBC.49.09a A Hard Days Night Disc 8 Track 17 PS The Complete BBC Sessions From Us To You #4 (Rehearsal Session) (BBC Paris Studios, London) R: 17 Jul 64 BBC.49.01b From Us To You without voiceover BBC.49.01c From Us To You outtake BBC.49.02b Long Tall Sally without voiceover BBC.49.03b If I Fell without voiceover BBC.49.04b Im Happy Just To Dance With You (Backing Track) BBC.49.04c Im Happy Just To Dance With You (Vocal Track) BBC.49.05b Things We Said Today without voiceover BBC.49.06b I Should Have Known Better (False Start) BBC.49.06c I Should Have Known Better (Basic Track) BBC.49.06d I Should Have Known Better (With Harmonica Overdub) BBC.49.07b Boys without voiceover BBC.49.08b Kansas City / Hey Hey Hey Hey without voiceover BBC.49.09b A Hard Days Night without voiceover PS The Complete BBC Sessions (Upgraded) AS Vinyl To The Core OS 01b,01c,04b,06b,06c: The Complete BBC Sessions

Top Gear (Playhouse Theatre, London) R: 17 Nov 64 B: 26 Nov 64 BBC.50.01 Im A Loser Disc 2 Track 11 BBC.50.02 Honey Dont Track 29 BBC.50.03 Shes A Woman Disc 2 Track 17 BBC.50.04 Everybodys Trying To Be My Baby Disc 2 Track 14 BBC.50.05 Ill Follow The Sun Disc 2 Track 15 BBC.50.06 I Feel Fine Disc 2 Track 18 PS The Beatles Broadcast Collection Trailer I except 02: Attack Of The Filler Beebs, Episode Two OS 02: The Beatles Broadcast Collection Trailer I Top Gear (Rehearsal Session) (Playhouse Theatre, London) R: 17 Nov 64 BBC.50.03b Shes A Woman BBC.50.06b I Feel Fine (False Sart) Track 26 BBC.50.06c I Feel Fine (Single-Tracked Vocal) Track 27 PS Attack Of The Filler Beebs, Episode Two Saturday Club (Studio One, Aeolian Hall, London) R: 25 Nov 64 B: 26 Dec 64 BBC.51.01 Rock And Roll Music Disc 2 Track 22 BBC.51.02 Kansas City / Hey Hey Hey Hey Disc 2 Track 24 PS The Beatles Broadcast Collection Trailer I NT Im A Loser (from BBC.50.01), Everybodys Trying To Be My Baby (from BBC.50.04), I Feel Fine (from BBC.50.06) and Shes A Woman (from BBC.50.03) where broadcasted in this program. The Beatles Invite You A Ticket To Ride (BBC Picadilly Studios, London) 26 May 65 BBC.52.01 Everybodys Trying To Be My Baby Disc 9 Track 19 BBC.52.02 Im A Loser Disc 9 Track 20 BBC.52.03 The Night Before Disc 9 Track 22 BBC.52.04 Honey Dont Disc 9 Track 23 BBC.52.05 Dizzy Miss Lizzy Disc 9 Track 24 BBC.52.06 Shes A Woman Disc 9 Track 25 BBC.52.07 Ticket To Ride Disc 9 Track 26 PS Attack Of The Filler Beebs, Episode Three Kenny Everett Show R: 6 Jun 68 BBC.53.01 Various BBC.53.02 Cottonfields BBC.53.03 All Together On The Wireless Machine PS Attack Of The Filler Beebs, Episode Three except 03: Mythology 3 Disc 2 Track 11 AS Mything Pieces Disc 4 Track 7 for Mythology Vol.3

TELECASTS
People And Places, R: 25 Oct 62, B: 29 Oct 62 TV621029.01 A Taste Of Honey (incomplete) PS Mythology Vol.1 Disc 1 Track 1 OS Artifacts; Telecasts One The Mersey Sound, R: 27 Aug 1963 TV630829.01 Twist And Shout (incomplete) TV630829.02 She Loves You PS Telecasts One Trak 2 y Track 3 (S. Video) OS Beatles At The Beeb TV; TV630829.02 in Pollwinners Go To Blackpool (CD) (S. Tape mono); Live In The United Kingdom 1962-1965 (Bulldog CD) Sunday Night At The London Palladium, R: 13 Oct 63 TV631013.01 From Me To You TV631013.02 Ill Get You TV631013.03 She Loves You TV631013.04 Twist And Shout PS 01,03,04 Mythology Vol.1 Disc 2 Track 1,2,3,4 (S. Offline); 02 Anthology I Disc 1 Track 28 AS Mything Pieces Disc 1 Track 10..Track 13 for Mythology Vol.1 OS Telecasts One (02 S. PS); Roadrunner (inferior quality with tape bleed-through) Drop In, R:30 Oct 63 TV631030.01 She Loves You TV631030.02 Twist And Shout TV631030.03 I Saw Her Standing There TV631030.04 Long Tall Sally TV631030.NI Drop In Theme PS Telecasts One Track 11,12,13,14 (S. 02, 04 Anthology Video) OS In Case You Dont Know (01,02,03,04) Morecambe And Wise Show, R:2 Dec 63 TV021263.01 This Boy TV021263.02 All My Loving TV021263.03 I Want To Hold Your Hand TV021263.04 Moonlight Bay PS Anthology I (01,03,04) Disk 2 Track 4,5,6; Mythology Vol.1 Disk 2 Track 17 AS Telecasts One (01 S. PS, 02,03,04) Sunday Night At The London Palladium, R:12 Jan 64

TV120164.01 I Want To Hold Your Hand TV120164.02 This Boy TV120164.03 All My Loving TV120164.04 Money TV120164.05 Twist And Shout PS Mythology Vol.1 Disk 3 Track 19..23 AS Telecasts One OS Ruling Queen Elizabeth II... (CD) (S. Sunday Night At The London Palladium (Vinyl)); Live In The United Kingdom 1962-1965 (Bulldog CD); Live In The United Kingdom 1962-1965 (Quarter Apple CD) Ed Sullivan Show, R: 9 Feb 64 B: Live TV640209a.01 All My Loving TV640209a.02 Till There Was You TV640209a.03 She Loves You TV640209a.04 I Saw Her Standing There TV640209a.05 I Want To Hold Your Hand PS TUC Vol.1 Disk 2 Track 1..5 OS 05 in Anthology (lost quality in the media transfer) Ed Sullivan Show, R: 9 Feb 64 B: 23 Feb 64 TV640209b.01 Twist And Shout TV640209b.02 Please Please Me TV640209b.03 I Want To Hold your Hand PS TUC Vol.1 Disk 2 Track 12..14 Ed Sullivan Show, R: 16 Feb 64 (Rehearsal) TV640216reh.01 She Loves You TV640216reh.02 This Boy TV640216reh.03 All My Loving TV640216reh.04 I Saw Her Standing There TV640216reh.05 From Me To You TV640216reh.06 I Want To Hold your Hand PS TUC Vol.1 Disk 2 Track 6..11 Ed Sullivan Show, R: 16 Feb 64 TV640216.01 She Loves You TV640216.02 This Boy TV640216.03 All My Loving TV640216.04 I Saw Her Standing There TV640216.05 From Me To You TV640216.06 I Want To Hold your Hand PS TUC Vol.1 Disk 2 Track 23..28 Around The Beatles, 19 Apr 64 B: 28 Apr 64

TV640419.01 Twist and Shout TV640419.02 Roll Over Beethoven TV640419.03 I Wanna Be Your Man TV640419.04 Long Tall Sally TV640419.05 Medley Of Singles TV640419.06 Cant Buy Me Love TV640419.07 Shout TV640419.08 Boys PS Live On British Television 1964 / 1965 (Invasion Unlimited CD) except Boys in Anthology I Disk 2 Track 15 AS TUC Vol.1 Disk 3 Track 4..10 OS Anthology I in I Wanna Be your Man, Long Tall Sally, Shout (edited). Stereo YN Vinyl To The Core for the end of Shout (without fade out) NT On EMI Outakes (Vinyl) is the soundtrack of the broadcast with the audience noises. Medley Of Singles: Love Me Do/Please Please Me/From Me To You/She Loves You/I Want To Hold your Hand The Beatles In Nederland, 5 Jun 64 TV640605.01 She Loves You TV640605.02 All My Loving TV640605.03 Twist And Shout TV640605.04 Roll Over Beethoven TV640605.05 Long Tall Sally TV640605.06 Cant Buy Me Love PS Telecasts Three Track 2..7 OS Danmark And Nederland June 1964; Jimmy Nichol And The Beatles (both with fair less quality); The Beatles In Holland (Superior, but uses less quality sources sometimes) Blackpool Night Out, 19 Jul 64 TV640719.01 A Hard Days Night TV640719.02 Things We Said Today TV640719.03 You Cant Do That TV640719.04 If I Fell TV640719.05 Long Tall Sally PS Mythology Vol.2 Disk 1 Track 10..14 (S. Offline) AS Mything Pieces Disc 1 Track 28..Track 32 for Mythology Vol.2 NT Theres circulating a better source from on-line tape (Unicorn release?) Shindig, 3 Oct 64 TV641003.01a Kansas City (Undubbed) TV641003.01b Kansas City (Con audiencia) TV641003.02 Im A Loser TV641003.03 Boys PS In Case You Dont Know Track 1 (01a), Track 17..19 AS Telecasts Three (01a,02,03)

Blackpool Night Out, 1 Aug 65 TV650801.01 I Feel Fine TV650801.02 Im Down TV650801.03 Act Naturally TV650801.04 Ticket To Ride TV650801.05 Yesterday TV650801.06 Help! PS Anthology II (01,04,05,06) Disk 1 T9..T12; Mythology Vol.2 (02) Disk 3 Track 4 (S. Anthology Video); Telecasts Three (03) Track 25 AS Mything Pieces Disc 2 Track 23 for Mythology Vol.2 OS Live On British Television 1964 / 1965; The N.M.E. Pollwinners Concert; Live In The United Kingdom 1962-1965 (Quarter Apple CD) Ed Sullivan Show, 14 Aug 65 TV650814.01 I Feel Fine TV650814.02 Im Down TV650814.03 Act Naturally TV650814.04 Ticket To Ride TV650814.05 Yesterday TV650814.06 Help! PS TUC Vol.1 Disk 2 Track 16..21 Promo Films, 4 Sep 68 TV680904.01a Hey Jude (US Promo Film) TV680904.01b Hey Jude (UK Promo Film) TV680904.01c Hey Jude (Anthology Promo Film) TV680904.02a Revolution (Promo Film) TV680904.02b Revolution (Anthology Version) TV680904.02c Revolution (Fragment) TV680904.03a By George!..Its The David Frost Theme TV680904.03a By George!..Its The David Frost Theme (Outtake) PS Revolution (01a, Track 18); Video 1 (01b, Track 8; 02a, Track 9); White Sessions (01c, Disk 4 Track 9; 02b Disk 4 Track 11; 02c, Disk 4 Track 12; 03a, Disk 4 Track 5; 03b, Disk 4 Track 6) OS White Sessions (01a, 01b)

IN CONCERT
Liverpool, 6 Jul 57 C570706.01 Puttin On The Style PS Puttin On The Style Track 1 AS The Beatles Complete * July 6 1957 April May 1960 (Part I) Cavern Club, 22 Aug 62 C620822.01 Some Other Guy PS The Beatles Complete * January 1 To September 5, 1962 AS Addendum One: 1957 1964; Anthology Plus; Artifacts Disc 1; The Complete BBC Sessions (Upgraded) Vol.1 Cavern Club, 5 Sep 62 C620905.01 Some Other Guy C620905.02 Kansas City PS Puttin On The Style (01, Track 13 - S. Acetate); The Beatles Complete * January 1 To September 5, 1962 (02, Track 29 S. Anthology Video) AS Addendum One 1957-1964 (Some Other Guy) OS Puttin On The Style para 02 (PS sounds a little better) YN 01: TUC Vol.1 Disc 1 Track 21 announcer intro is more complete Star Club, 25 Dec 62 C621225.01 Be Bop A Lula C621225.02 I Saw Her Standing There C621225.03 Hallelujah! I love Her So C621225.04 Red Hot C621225.05 Sheila C621225.06 Im Talking About You C621225.07 Twist And Shout C621225.08 Mr. Moonlight C621225.09 Sweet Little Sixteen C621225.10 Besame Mucho C621225.11 Red Sails In The Sunset C621225.12 I Remember You C621225.13 Im Gonna Sit Right Down And Cry (Over You) C621225.14 Kansas City C621225.15 Shimmy Like Kate C621225.16 Long Tall Sally C621225.17 Falling In Love Again

C621225.18 Roll Over Beethoven PS Live! At The Star Club In Hamburg, Germany 1962 (Lingasong CD) (01, Track 18; 02, Track 1; 03, Track 19; 06, Track 23; 07, Track 7; 08, Track 8; 09, Track 4; 10, Track 10; 11, Track 20; 12, Track 26; 14, Track 12; 15, Track 24; 16, Track 25; 17, Track 16; 18, Track 2); Anthropology (04, Track 3); Live! At The Star Club In Hamburg, Germany 1962 (US Double H Licensing Corp. Vinyl) (05, Side 3 Track 5; 13, Side 1 Track 1) AS In Concert Hamburg 62.12.25 62.12.28 62.12.31 NT Theres a sampler tape of Kansas City, Shimmy Like Kate, Falling In Love Again, Roll Over Beethoven and Sweet Little Sixteen with bites of pre and post dialogue. In Et Maitenant Une Chanson CD are Shimmy Like Kate and Roll Over Beethoven on poor quality. In Vinyl To The Core are Shimmy Like Kate, Kansas City, Falling In Love Again and Roll Over Beethoven. Star Club, 28 Dec 62 C621228.01 A Taste Of Honey This version is in fact an edit of two (or more ?) versions. The spoken introduction by Paul is completely different than on version #2 although some parts are common to both versions. Listen To From 0:00 to 0:25: Paul talks about "Seasonal Greetings". This part is not found on version #2. From 0:25 to 0:30: Ringo sings "Ba Ba Ba Ba Ba Ba Ba Ba Baaa..." while someone strum his guitar two times. This is followed by a drum hit. This part is common to both versions. On 0:30: someone counts "One ..." and the tape is cut. The edit is clearly audible. From 0:30 to 1:49: this part is unique to this version. On 1:40: John shouts something sounding like "Ghost" (probably "Prst") From 1:49 to 2:18: this is the last "I will return, yes, I will return" part. This is the same as on version #2. On 2:14: Paul says "Thank you very much". (3:21) C621228.02 Till There Was You C621228.03 Where Have you Been C621228.04 Lend Me your Comb C621228.05 Your Feets Too Big C621228.06 Im Talking About You C621228.07 To Know Her Is To Love Her C621228.08 Evrybodys Trying To Be My Baby C621228.09 Matchbox C621228.10 Little Queenie C621228.11 Nothing Shakin (But The Leaves On The Tree) C621228.12 Roll Over Beethoven PS Mach Shau! (LP) (01, Side A Track 1; 02, Side A Track 2; 03, Side A Track 3; 06, Side A Track 6; 12, Side B Track 6); Live! At The Star Club In Hamburg, Germany 1962 (Lingasong CD) (04,; 05,; 07, Track 14; 08, Track 21; 09, Track 22; 10, Track 15; 11, Track 13) AS In Concert Hamburg 62.12.25 62.12.28 62.12.31 NT A Taste Of Honey, Till There Was You (half), Lend Me your Comb, Your Feets Too Big and To Know Her Is To Love Her are in the sampler tape. Star Club, 31 Dec 62 C621231.01 Roadrunner C621231.02 The Hippy Hippy Shake C621231.03 A Taste Of Honey (incomplete)

From 0:00 to 0:05: First attempt to Ringo "Ba Ba Ba Ba" but aborted. Paul talks about "Mathilda" (?). From 0:05 to 0:26: Paul introduces "a Lied that Johns gonna hate: A Taste Of Honey". From 0:26 to 0:30: Ringos "Ba Ba Ba Ba" with two guitar strums and a drum hit. This is the same as on version #1. From 0:31 to 0:33: Pauls count: "1-2-3-4" plus another guitar strum. This appears uncomplete on version #1. From 0:33 to 3:03: the song featuring an extra verse. Also notice the solo guitar which is completely different. On 0:38: a girl shouts "Paul !". John answers "Allez!". On 1:29: John shouts "Enough talk !". This statement makes Paul laughing. From 1:55 to 2:12: an extra "I will return" part ending with "Too doo doo doo" From 2:13 to 2:37: an extra verse. This is the only version featuring this extra verse. Quality is terrible. From 2:38 to 3:03: latest "I will return" part. Same as on version #1. On 3:02: Paul says "Thank you very much". (2:52). Incompleta C621231.04 Money C621231.05 Reminiscing C621231.06 Ask Me Why The audience does not scream. However you can hear some comments from time to time. Paul introduces the song: "... called Ask Me Why" Johns rythm guitar is more nervous than on other versions. (2:14) C621231.07 I Saw Her Standing There (2:57), Following this The Beatles introduce Horst Fascher and the tape ends. PS Roadrunner (01, Track 1; 04, Track 2; 07, Track 7); Live! At The Star Club In Hamburg, Germany 1962 (Lingasong CD) (02, Track 3; 03, Track 9; 05, Track 11; 06, Track 17 AS In Concert Hamburg 62.12.25 62.12.28 62.12.31 Stockholm, 24 Oct 63 C631024.01 I Saw Her Standing There C631024.02 From Me To You C631024.03 Money C631024.04 Roll Over Beethoven C631024.05 You Really Got A Hold On Me C631024.06 She Loves You C631024.07 Twist And Shout PS Swedish Radio Show OS Stars Of 63 (slightly worse quality); TUC Vol.2 (slightly worse quality than Stars Of 63); Anthology I (except She Loves You and Twist And Shout) London, Royal Variety Show, 4 Nov 63 C631104.01 From Me To You C631104.02 She Loves You C631104.03 Till There Was You C631104.04 Twist And Shout PS Anthropology (S. Anthology Video) (01, Track 9); Anthology I (02, Disc 2 Track 1; 03, Disc 2 Track 2; 04, Disc 2 Track 3) AS Fanthology (for Anthropology) OS Mythology Vol.1 (inferior quality); Live In The United Kingdom 1962-1965 [Bulldog CD] Bournemouth, 16 Nov 63 C631116.01 From Me To You PS Make As Much Noise As You Like Track 1 Manchester, 20 Nov 63

C631120.01 She Loves You C631120.02 Twist And Shout C631120.03 From Me To You PS Addendum One: 1957-1964 OS Live In The United Kingdom 1962-1965 [Bulldog CD] Liverpool, 7 Dec 63 C631207.01 From Me To You C631207.02 I Saw Her Standing There C631207.03 All My Loving C631207.04 Roll Over Beethoven C631207.05 Boys C631207.06 Till There Was You C631207.07 She Loves You C631207.08 This Boy C631207.09 I Want To Hold Your Hand C631207.10 Money C631207.11 Twist And Shout C631207.12 From Me To You (Instrumental) PS Mythology Vol.I Disk 3 Track1..12 AS Mything Pieces Disc 2 Track Track 1..Track 12 OS Todo: Live In The UK CD (S. Youngblood LP); Liverpool 63.12.07 Washington 64.02.11 (S. Several sources); Solo 08,09,10,l1: Jelly Beans Hailing In Dreamlike Noise; Beatles At The Beeb TV; Ultimate Live Masters (S. Inline from Video) Paris, 16 Jan 64 C640116.01 I Saw Her Standing There C640116.02 This Boy (Intro only) C640116.03 Twist And Shout C640116.04 From Me To You (brief instrumental reprise) C640116.05 Long Tall Sally C640116.06 From Me To You (brief instrumental reprise) C640116.07 From Me To You PS City Of Light Disc 1 [Darthdisc] Tracks 10..16 AS The Lost Paris Tapes Track 10..16; Addendum One: 1957-1964; Ultimate Live Masters; The Paris Concerts 1964-1965 Paris, 19 Jan 64 C640119.01 From Me To You C640119.02 This Boy C640119.03 I Want To Hold Your Hand C640119.04 She Loves You C640119.05 Twist And Shout C640119.06 From Me To You (brief instrumental reprise) PS City Of Light Disc 1 [Darthdisc] Tracks 4..9 AS The Lost Paris Tapes Track 4..9; Live In Paris 1964 And In San Francisco 1966; The Paris Concerts 1964-1965 Washington D.C., 11 Feb 64 C640211.01 Roll Over Beethoven

C640211.02 From Me To You C640211.03 I Saw Her Standing There C640211.04 This Boy C640211.05 All My Loving C640211.06 I Wanna Be Your Man C640211.07 Please Please Me C640211.08 Till There Was You C640211.09 She Loves You C640211.10 I Want To Hold Your Hand C640211.11 Twist And Shout (parcial) C640211.12 Long Tall Sally PS Liverpool 63.12.07 Washington 64.02.11 Track 16..25 (S. Alternate Sources) AS 03,07,09: Anthology I; 12: Vinyl To The Core; 01,02,04,05,06,08,10,11: In Case You Dont Know Wembley, 26 Apr 64 C640426.01 She Loves You C640426.02 You Cant Do That C640426.03 Twist And Shout C640426.04 Long Tall Sally C640426.05 Cant Buy Me Love PS Jelly Beans Hailing In Dreamlike Noise Track 5..9 AS Pollwinners Go To Blackpool; Addendum One: 1957-1964; Live On British Television 1964 / 1965 (Invasion Unlimited CD) ; Telecasts OS Mythology Vol.1 (worse quality sound); Live In The UK 1962 1965 (Quarter Apple CD) Copenhagen 4 Jun 64 C640604.01 I Saw Her Standing There C640604.02 I Want To Hold Your Hand C640604.03 All My Loving C640604.04 She Loves You C640604.05 Till There Was You C640604.06 Roll Over Beethoven C640604.07 Cant Buy Me Love C640604.08 This Boy C640604.09 Twist And Shout PS Denmark & Nederland June 1964 AS Except 01: Jimmy Nichol And The Beatles OS In Concert Blokker, 6 Jun 64 (Afternoon) C640606a.01 I Saw Her Standing There C640606a.02 I Want To Hold Your Hand C640606a.03 All My Loving C640606a.04 She Loves You C640606a.05 Long Tall Sally (Parcial) PS 01,02,03: Danmark & Nederland June 1964 Track 16..18; 04,05: Vinyl To The Core Disc 1 Track28,29 AS Addendum One 1957-1964; The Beatles In Holland OS 04: Danmark & Nederland June 1964 (incomplete)

Blokker, 6 Jun 64 (Evening) C640606b.01 I Saw Her Standing There C640606b.02 Twist And Shout PS Vinyl To The Core Disc 1 Track 26,27 AS The Beatles In Holland Adelaide, 12 Jun 64 C640612.01 I Saw Her Standing There C640612.02 I Want To Hold Your Hand C640612.03 All My Loving C640612.04 She Loves You C640612.05 Till There Was You C640612.06 Roll Over Beethoven C640612.07 Cant Buy Me Love C640612.08 This Boy C640612.09 Twist And Shout C640612.10 Long Tall Sally PS 300.000 Beatles Fans Cant Be Wrong (CD) OS Live In Australia 1964; Copenhagen 64.06.04 Adelaide 64.06.12; Euphoria In Australia CD Melbourne, 16 Jun 64 C640616.01 I Saw Her Standing There C640616.02 You Cant Do That C640616.03 All My Loving C640616.04 She Loves You C640616.05 Till There Was You C640616.06 Roll Over Beethoven C640616.07 Cant Buy Me Love C640616.08 This Boy C640616.09 Twist And Shout C640616.10 Long Tall Sally PS Australian Tour 1964 Disk 2 Track 9..18 AS All The Best From Australia CD OS Melbourne 64.06.16 Melbourne 64.06.17 Melbourne, 17 Jun 64 C640617.01 I Saw Her Standing There C640617.02 You Cant Do That C640617.03 All My Loving C640617.04 She Loves You C640617.05 Till There Was You C640617.06 Roll Over Beethoven C640617.07 Cant Buy Me Love C640617.08 This Boy C640617.09 Twist And Shout C640617.10 Long Tall Sally (spoken intro only) PS Australian Tour 1964; Except 10: Melbourne 64.06.16 Melbourne 64.06.17 AS All The Best From Australia CD

Sydney, 18/20 Jun 64 C640818/20.01 I Saw Her Standing There (parcial) C640818/20.02 You Cant Do That (parcial) PS Make As Much Noise As You Like Track 2 (S. Newsreel) San Francisco, 19 Aug 64 C640819.01 Twist And Shout (Parcial) C640819.02 She Loves You (Parcial) C640819.03 A Hard Days Night (Parcial) PS Make As Much Noise As You Like (S. Newsreel) Seattle, 21 Aug 64 C640821.01 Twist And Shout C640821.02 You Cant Do That C640821.03 All My Loving C640821.04 She Loves You C640821.05 Things We Said Today C640821.06 Roll Over Beethoven C640821.07 Cant Buy Me Love C640821.08 If I Fell C640821.09 I Want To Hold Your Hand C640821.10 Boys C640821.11 A Hard Days Night C640821.12 Long Tall Sally PS Seattle / Vancouver Disk 1 Track 7..Track 18 (S. Audience Tape) AS Northwest Nights (S. Primary Source) Vancouver, 22 Aug 64 C640822.01 Twist And Shout C640822.02 You Cant Do That C640822.03 All My Loving C640822.04 She Loves You C640822.05 Things We Said Today C640822.06 Roll Over Beethoven C640822.07 Cant Buy Me Love C640822.08 If I Fell C640822.09 Boys C640822.10 A Hard Days Night C640822.11 Long Tall Sally PS Seattle / Vancouver Disk 2 Track 6..Track 17 (S. On-Line Tape) AS Northwest Nights (S. Primary Source) Hollywood Bowl, 23 Aug 64 C640823.01 Twist And Shout C640823.02 You Cant Do That C640823.03 All My Loving C640823.04 She Loves You C640823.05 Things We Said Today C640823.06 Roll Over Beethoven C640823.07 Cant Buy Me Love C640823.08 If I Fell

C640823.09 I Want To Hold Your Hand C640823.10 Boys C640823.11 A Hard Days Night C640823.12 Long Tall Sally PS The Complete Hollywood Bowl Concerts 1964-1965 Disk 1 Track 2..Track 13 Philadelphia, 2 Sep 64 C640902.01 Twist And Shout C640902.02 You Cant Do That C640902.03 All My Loving C640902.04 She Loves You C640902.05 Things We Said Today C640902.06 Roll Over Beethoven C640902.07 Cant Buy Me Love C640902.08 If I Fell C640902.09 I Want To Hold Your Hand C640902.10 Boys C640902.11 A Hard Days Night C640902.12 Long Tall Sally PS Ultimate Live Collection Vol.1 Disk 2 Track 1..Track 12 Indianapolis 3 Sep 64 C640902.01 Twist And Shout C640902.02 You Cant Do That C640902.03 All My Loving C640902.04 She Loves You C640902.05 Things We Said Today C640902.06 Roll Over Beethoven C640902.07 Cant Buy Me Love C640902.08 If I Fell C640902.09 I Want To Hold Your Hand C640902.10 Boys C640902.11 A Hard Days Night C640902.12 Long Tall Sally PS Ultimate Live Collection Vol.1 Disk 1 Track 2..Track 13 Chicago, 5 Sep 64 C640905.01 Twist And Shout (partial) C640905.02 You Cant Do That (partial) PS Make As Much Noise As You Like Track 4 (S. Newsreel) Detroit, 6 Sep 64 C640906.01 Cant Buy Me Love (partial) PS Make As Much Noise As You Like Track 5 (S. Newsreel) Wembley 11 Apr 65 C650411.01 I Feel Fine C650411.02 Shes A Woman C650411.03 Babys In Black C650411.04 Ticket To Ride C650411.05 Long Tall Sally

PS The NME Poll Winners Concert 1965 Disk 2 Track 15..Track 19 AS Live On British Television 1964 / 1965 (Invasion Unlimited CD); Telecasts CD OS Mythology Vol.2 (Slight inferior quality) Paris, 20 Jun 65 (Afternoon) C650620a.01 Twist And Shout C650620a.02 Shes A Woman C650620a.03 Im A Loser C650620a.04 Cant Buy Me Love C650620a.05 Babys In Black C650620a.06 I Wanna Be Your Man C650620a.07 A Hard Days Night C650620a.08 Everybodys Trying To Be My Baby C650620a.09 Rock And Roll Music C650620a.10 I Feel Fine C650620a.11 Ticket To Ride C650620a.12 Long Tall Sally PS City Of Light Disc 2 [Darthdisc] Tracks 1..12 AS Live In Paris 1965 Track 1..Track 12; Et Maintenant Une Chanson (New Version) Paris, 20 Jun 65 (Evening) C650620b.01 Twist And Shout C650620b.02 Shes A Woman C650620b.03 Im A Loser C650620b.04 Cant Buy Me Love C650620b.05 Babys In Black C650620b.06 I Wanna Be Your Man C650620b.07 A Hard Days Night C650620b.08 Everybodys Trying To Be My Baby C650620b.09 Rock And Roll Music C650620b.10 I Feel Fine (Partial) C650620b.11 Ticket To Ride C650620b.12 Long Tall Sally PS City Of Light Disc 2 [Darthdisc] Tracks 13..24 AS Live In Paris 1965 Track 13..Track 24 except I Feel Fine; Et Maintenant Une Chanson (New Version) Roma, 27 Jun 65 (Afternoon) C650627a.01 Twist And Shout (Partial) C650627a.02 Shes A Woman C650627a.03 Im A Loser C650627a.04 Cant Buy Me Love C650627a.05 Babys In Black C650627a.06 I Wanna Be Your Man C650627a.07 A Hard Days Night C650627a.08 Everybodys Trying To Be My Baby C650627a.09 Rock And Roll Music C650627a.10 I Feel Fine C650627a.11 Ticket To Ride C650627a.12 Long Tall Sally (Not Complete) PS The Beatles In Italy 1965 (CD Bulldog) Track 5..Track 16

Roma, 27 Jun 65 (Evening) C650627b.01 Twist And Shout C650627b.02 Shes A Woman C650627b.03 Im A Loser (Partial) PS 01 and 03: The A.M. Tape (Track 1); 02: The Beatles In Italy 1965 (CD Bulldog) YN The A.M. Tape Track 1 for 02 AS For The A.M. Tape: Make As Much Noise As You Like! New York, 15 Aug 65 (Shea Stadium) C650815.01 Twist And Shout Track 1 C650815.02 I Feel Fine Track 2 C650815.03 Dizzy Miss Lizzy Track 3 C650815.04 Ticket To Ride Track 4 C650815.05 Everybodys Trying To Be My Baby Disk 1 Track 13 C650815.06 Cant Buy Me Love Track 5 C650815.07 Babys In Black Track 6 C650815.08 Act Naturally Track 7 C650815.09 A Hard Days Night Track 7 C650815.10 Help! Track 8 C650815.11 Im Down Track 9 PS Shea! / Candlestick except 05: Anthology 2; 08: Make As Much Noise As You Like! AS Shea! CD for Shea! / Candlestick OS Shea Stadium 65.08.15 / Atlanta 65.08.18 Atlanta, 18 Aug 65 C650818.01 Twist And Shout Track 2 C650818.02 Shes A Woman Track 3 C650818.03 I Feel Fine Track 4 C650818.04 Dizzy Miss Lizzy Disc 2 Track 5 C650818.05 Ticket To Ride Track 5 C650818.06 Everybodys Trying To Be My Baby Track 6 C650818.07 Cant Buy Me Love Track 7 C650818.08 Babys In Black Track 8 C650818.09 I Wanna Be Your Man Track 9 C650818.10 Help! Track 10 C650818.11 Im Down Track 11 PS Atlanta 65 * Munich 66 * Seattle 64 except Dizzy Miss Lizzy: Vinyl To The Core (S. Beatles Over Atlanta & Shea Stadium CD-R) AS Atlanta 65 for Atlanta 65 * Munich 66 * Seattle 64 Houston, 19 Aug 65 (Afternoon) C650819a.01 Twist And Shout C650819a.02 Shes A Woman C650819a.03 I Feel Fine C650819a.04 Dizzy Miss Lizzy C650819a.05 Ticket To Ride C650819a.06 Everybodys Trying To Be My Baby C650819a.07 Cant Buy Me Love C650819a.08 Babys In Black C650819a.09 I Wanna Be Your Man C650819a.10 A Hard Days Night

C650819a.11 Help! C650819a.12 Im Down PS Ultimate Live Collection Vol.1 Disk 1 Track 15..Track 26 Houston, 19 Aug 65 (Evening) C650819b.01 Twist And Shout C650819b.02 Shes A Woman C650819b.03 I Feel Fine C650819b.04 Dizzy Miss Lizzy C650819b.05 Ticket To Ride C650819b.06 Everybodys Trying To Be My Baby C650819b.07 Cant Buy Me Love C650819b.08 Babys In Black C650819b.09 I Wanna Be Your Man C650819b.10 A Hard Days Night C650819b.11 Help! C650819b.12 Im Down PS Ultimate Live Collection Vol.1 Disk 2 Track 14..Track 25 Los Angeles, 29 Aug 65 (Hollywood Bowl) C650829.01 Twist And Shout C650829.02 Shes A Woman C650829.03 I Feel Fine C650829.04 Dizzy Miss Lizzy C650829.05 Ticket To Ride C650829.06 Everybodys Trying To Be My Baby C650829.07 Cant Buy Me Love C650829.08 Babys In Black C650829.09 I Wanna Be Your Man C650829.10 A Hard Days Night C650829.11 Help! C650829.12 Im Down PS The Complete Hollywood Bowl Concerts 1964-1965 Disk 2 Track 2..Track 13 Los Angeles, 30 Aug 65 (Hollywood Bowl) C650830.01 Twist And Shout C650830.02 Shes A Woman C650830.03 I Feel Fine C650830.04 Dizzy Miss Lizzy C650830.05 Ticket To Ride C650830.06 Everybodys Trying To Be My Baby C650830.07 Cant Buy Me Love C650830.08 Babys In Black C650830.09 I Wanna Be Your Man C650830.10 A Hard Days Night C650830.11 Help! C650830.12 Im Down PS The Complete Hollywood Bowl Concerts 1964-1965 Disk 1 Track 15..Track 26 San Francisco, 31 Aug 65 (Afternoon) C650831a.01 Twist And Shout (partial) C650831a.02 A Hard Days Night (partial) C650831a.03 I Wanna Be Your Man (partial)

PS Vinyl To The Core Disc 2 Track 6 (S. Newsreel) OS Addendum One: 1957-1964 San Francisco, 31 Aug 1965 (Evening) C650831b.01 Twist And Shout (partial) C650831b.02 Shes A Woman (partial) PS Make As Much Noise As You Like! Track 8 (S. Newsreel) Munich, 24 Jun 66 (Afternoon) C660624a.01 I Wanna Be Your Man (fragment) C660624a.02 Im Down PS Make As Much Noise As You Like! Track 9 Munich, 24 Jun 66 (Evening) C660624b.01 Rock And Roll Music Track 13 C660624b.02 Shes A Woman (fragment) Track 14 C660624b.03 Babys In Black Track 14 C660624b.04 I Feel Fine Track 15 C660624b.05 Yesterday Track 16 C660624b.06 Nowhere Man Track 17 C660624b.07 Im Down Track 18 PS Atlanta 65 * Munich 66 * Seattle 64 (S. Videotape) OS Die Beatles In Deutschland 1966! (Slight inferior quality) Essen, 25 Jun 66 (Afternoon) C660625.01 Rock And Roll Music C660625.02 Shes A Woman C660625.03 If I Needed Someone C660625.04 Day Tripper C660625.05 Babys In Black C660625.06 I Feel Fine C660625.07 Yesterday C660625.08 I Wanna Be Your Man C660625.09 Nowhere Man C660625.10 Paperback Writer C660625.11 Im Down PS Mythology Vol.2 Disk4 Track 2..Track 12 AS Addendum One: 1957-1964; Mything Pieces Disc 3 Track 1..Track 12 Essen, 25 Jun 66 (Evening) C660625b.01 Paperback Writer (partial) PS DieBeatles In Deutschland 1966! AS Vinyl To The Core Disc 2 Track 6 Hamburg, 26 Jun 66 C660626.01 Nowhere Man (partial) C660626.02 Paperback Writer (partial)

PS Make As Much Noise As You Like! Track 10 OS DieBeatles In Deutschland 1966! (inferior quality) Tokio, 30 Jun 66 C660630.01 Rock And Roll Music C660630.02 Shes A Woman C660630.03 If I Needed Someone C660630.04 Day Tripper C660630.05 Babys In Black C660630.06 I Feel Fine C660630.07 Yesterday C660630.08 I Wanna Be Your Man C660630.09 Nowhere Man C660630.10 Paperback Writer C660630.11 Im Down PS Live In Japan CD AS Tokyo 66.06.30 Tokyo 66.07.01 Track 2..Track 12 OS Five Nights In Judo Arena (Slight worse sound. S. Video) Tokio, 1 Jul 66 C660701.01 Rock And Roll Music C660701.02 Shes A Woman C660701.03 If I Needed Someone C660701.04 Day Tripper C660701.05 Babys In Black C660701.06 I Feel Fine C660701.07 Yesterday C660701.08 I Wanna Be Your Man C660701.09 Nowhere Man C660701.10 Paperback Writer C660701.11 Im Down PS Tokyo 66.06.30 Tokyo 66.07.01 Track 14..Track 24 AS The Ultimate Collection Vol.2 OS Live In Japan CD (Slightly worse sound) Detroit, 13 Aug 66 C660813.01 Rock And Roll Music C660813.02 Shes A Woman C660813.03 If I Needed Someone C660813.04 Day Tripper C660813.05 Babys In Black C660813.06 I Feel Fine C660813.07 Yesterday C660813.08 I Wanna Be Your Man C660813.09 Nowhere Man C660813.10 Paperback Writer C660813.11 Im Down PS Make As Much Noise As You Like! Track 10 (see notes) NT Forgery in Doug Sulpys opinion: Its one of the Tokios concerts. Cleveland, 14 Aug 66

C660814.01 I Feel Fine (incomplete) PS Vinyl To The Core Disc 2 Track 16 (S. Beatles Views LP) AS Addendum One: 1957-1964; Rare Live Collection; Lost Recordings 1967 Boston, 18 Aug 66 C660818.01 Long Tall Sally (incomplete) PS Vinyl To The Core Disc 2 Track 17 (S. Newsreel) OS Addendum One: 1957-1964 Memphis, 19 Aug 66 C660819.01 I Wanna Be Your Man (incomplete) C660819.02 Paperback Writer (incomplete) C660819.03 Long Tall Sally (incomplete) PS Make As Much Noise As You Like! Track 22 New York, 23 Aug 66 (Shea Stadium) C660823.01 Shes A Woman (incomplete) C660823.02 If I Needed Someone (incomplete) C660823.03 I Feel Fine (incomplete) C660823.04 Yesterday (incomplete) C660823.05 Paperback Writer (incomplete) PS Make As Much Noise As You Like! Track 23 (S. Vinyl Beatles At Shea Stadium Described By Erupting Fans) San Francisco, 29 Aug 66 C660829.01 Rock And Roll Music C660829.02 Shes A Woman C660829.03 If I Needed Someone C660829.04 Day Tripper C660829.05 Babys In Black C660829.06 I Feel Fine C660829.07 Yesterday C660829.08 I Wanna Be Your Man C660829.09 Nowhere Man C660829.10 Paperback Writer C660829.11 Long Tall Sally (incomplete) PS Shea! / Candlestick Track 10..Track 20 AS San Francisco 66.08.29 London 69.01.30

02 January 1969 1Na (dialogue) (0:02) 1Nb (dialogue) (0:05) 1Nc (slate announcement) (0:31) 1Nd (slate announcement) (0:03) 1Ne (equipment set-up) (0:43) 1Nf (slate announcement) (0:05) 1 Dont Let Me Down (0:34) 2Na (tuning) (0:02) 2Nb (tuning) (0:20) 2Nc (tuning) (0:01) 2 All Things Must Pass (0:26) 3Na (tuning) (0:27) 3 Dont Let Me Down 4 Dig A Pony 5 Everybody Got Song 6 Dont Let Me Down (11:17) PS Day By Day Vol.1 Disk 1 Track 1 NT Roll 1A 7 Let It Down 8 Let It Down 9 (Improvisation) 10 Brown-Eyed Handsome Man 11 Ive Got A Feeling 12 A Case Of The Blues 13 (Improvisation) 14 (Improvisation) 15 On The Road To Marrakesh 16 Revolution 17 I Shall Be Released 18 Sun King (16:05) PS Day By Day Vol.1 Disk 1 Track 2 NT Roll 2A 19 Sun King / Dont Let Me Down 20 Dont Let Me Down 21 The Teacher Was ALookin 22 Dont Let Me Down 23 Dont Let Me Down 24 Sun King 25 Mailman, Bring Me No More Blues 26 Ive Got A Feeling (14:50) PS Day By Day Vol.1 Disk 1 Track 3 NT Roll 3A 27 Ive Got A Feeling (1:14) 28 Ive Got A Feeling (0:03)

PS Day By Day Vol.1 Disk 1 Track 4 NT Roll 3A (miscalled as Rol 4A) 29 Ive Got A Feeling (0:05) 30 Ive Got A Feeling 31 Ive Got A Feeling (12:23) 32 (Unknown) (3:48) PS Day By Day Vol.1 Disk 1 Track 5 NT Roll 4A 33 Speak To Me (1:58) 34 Ive Got A Feeling 35 Ive Got A Feeling 36 Ive Got A Feeling 37 Mighty Quinn (Quinn The Eskimo) 38 Ive Got A Feeling 39 Ive Got A Feeling 40 Ive Got A Feeling (14:08) PS Day By Day Vol.1 Disk 2 Track 1 NT Roll 5A 41Na (dialogue) (2:26) 41Nb (slate announcement) (0:07) 41Nc (slate announcement) (0:06) 41Nd (dialogue) (3:21) 41Ne (slate announcement) (0:08) 41Nf (dialogue) (1:52) 41Ng (dialogue) (1:13) 41 Ive Got A Feeling (1:29) 42Na Tuning (0:30) 42Nb (slate announcement) (0:07) 42 Ive Got A Feeling (0:38) 43 Ive Got A Feeling (0:09) 44 Ive Got A Feeling (1:24) 45 Ive Got A Feeling (2:18) PS Day By Day Vol.1 Disk 2 Track 2 NT Roll 6A 46 Ive Got A Feeling 47 Ive Got A Feeling (6:12) 48 Ive Got A Feeling 49 Sun King / Dont Let Me Down 50 Dont Let Me Down (10:03) PS Day By Day Vol.1 Disk 2 Track 3 NT Roll 7A 51 Dont Let Me Down 52 Sun King / Dont Let Me Down

53 Dont Let Me Down (10:53) 54 Dont Let Me Down 55 (improvisation) 56 (unknown) (2:15) 57 Dont Let Me Down (3:11) PS Day By Day Vol.1 Disk 2 Track 4 NT Roll 8A 58 Dont Let Me Down (0:06) 59 Well..Alright (1:13) 60 Well..Alright 61 (unknown) (1:33) 62 All Things Must Pass (1:24) 63 Two Of us 64 Were Goin Home 65 Two Of Us (12:03) PS Day By Day Vol.2 Disk 1 Track 1 NT Roll 9A 66 Two Of Us (0:39) 67 Two Of Us (3:35) 68 Two Of Us (0:32) 69 Two Of Us (0:05) 70 Two Of Us (0:55) 71 Two Of Us 72 Its Good To See The Folks Back Home 73 Two Of Us (9:43) PS Day By Day Vol.2 Disk 1 Track 2 NT Roll 10A 03 January 1969

06 January 1969

07 January 1969

08 January 1969

09 January 1969

10 January 1969

13 January 1969 1Na (dialogue) (1:19) PS Day By Day Vol.15 Disk 1 Track 1 NT Roll 125A (miscalled Roll 123A) 1Nb (dialogue) (2:16) 1Nc (dialogue) (1:37) 1Nd (dialogue) (1:21) 1Ne (dialogue) (0:44) 1Nf (dialogue) (1:21) 1Ng (dialogue) (1:04) 1Nh (dialogue) (1:36) 1Ni (dialogue) (1:02) 1Nj (dialogue) (0:28) 1Nk (dialogue) (0:24) PS Unavailable NT Roll 113B 1Nl (dialogue) (0:09) PS Day By Day Vol.15 Disk 1 Track 1 NT Roll 125A 1Nm (dialogue) (0:44) PS Unavailable NT Roll 113B 1Nn (dialogue) (2:05) 1No (dialogue) (13:50) PS Day By Day Vol.15 Disk 1 Track 1 NT Roll 125A 1Np (dialogue) (16:39) PS Day By Day Vol.15 Disk 1 Track 2 YN unavailable (0:26) from 115B

NT Roll 126A,115B 1 Ob-La-Di Ob-La-Da 2 Ob-La-Di Ob-La-Da 3 Sleep On, Otis (16:56) PS Day By Day Vol.15 Disk 1 Track 3 YN unavailable (0:33) from 115B NT Roll 127A (announced as 227), 115B 4 Baby, Come Back 5 Build Me Up, Buttercup PS Day By Day Vol.15 Disk 1 Track 4 YN unavailable from 116B NT Roll 128A, 116B 6 Build Me Up, Buttercup PS Day By Day Vol.15 Disk 2 Track 1 YN unavailable from 117B NT Roll 129A, 117B 7 Build Me Up, Buttercup (54:18) PS Day By Day Vol.15 Disk 2 Track 2 YN unavailable from 118B NT Roll 130A, 118B 8Na (dialogue) (3:46) PS unavailable NT Roll 118B 8Nb (dialogue) (6:53) 8Nc (dialogue) (0:40) 8Nd (dialogue) (0:38) 8Ne (dialogue) (0:05) PS unavailable NT Roll 119B 8Nf (dialogue) (29:20) PS Day By Day Vol.15 Disk 2 Track 3 NT Roll 132A

8 (instrumental) (3:38) 9 (instrumental) (0:06) 10 (instrumental) (0:38) 11(instrumental) (3:16) PS unavailable NT Roll 119B 12 Dig A Pony (0:10) 13 (instrumental) PS unavailable NT Roll 120B 14 Dig A Pony PS The Get Back Journals Disc 5 Track 11 YN unavailable Roll 120B for before NT Roll 120B 15 Get Back PS The Get Back Journals Disc 5 Track 11 NT Roll 120B 16 (improvisation) (6:44) PS unavailable NT Roll 120B 17 Get Back (0:39) PS The Get Back Journals Disc 5 Track 11 YN unavailable Roll 120B for before NT Roll 120B 18 Get Back (0:31) 19 Get Back (0:49) 20 Get Back (0:11) 21 Get Back (0:48) PS The Get Back Journals Disc 5 Track 11 NT Roll 120B 22 Get Back (0:33) PS unavailable NT Roll 120B

23 Get Back (0:18) PS The Get Back Journals Disc 5 Track 11 YN unavailable Roll 120B for before (0:15) NT Roll 120B 24 Get Back 25 (instrumental) 26 (instrumental) 27 Get Back 28 Get Back 29 Get Back (16:11) PS Day By Day Vol.16 Disk 1 Track 1 YN unavailable Roll 121B for after NT Roll 134A, 121B 30 Get Back 31 Get Back 32 Get Back 33 On The Road Again 34 (improvisation) (16:57) PS Day By Day Vol.16 Disk 1 Track 2 YN unavailable Roll 121B for before NT Roll 121B, 136A 14 January 1969

21 January 1969

22 January 1969

23 January 1969

24 January 1969

25 January 1969

26 January 1969

27 January 1969

28 January 1969

29 January 1969

30 January 1969 1Na (roll announcement) 1Nb (slate announcement) 1Nc (dialogue) PS Thirty Days Disc 14 Track 1

NT Roll 562A 1 Get Back PS Thirty Days Disc 14 Track 2 NT Roll 1146B 2 Get Back PS Thirty Days Disc 14 Track 3 NT Roll 562A 3Na (dialogue) 3 I Want You (Shes So heavy) 4Na (dialogue) PS Thirty Days Disc 14 Track 4 NT Roll 1146B 4Nb (take announcement) 4 Get Back PS Thirty Days Disc 14 Track 5 NT Roll 562A 5 Dont Let Me Down PS Thirty Days Disc 14 Track 6 NT Roll 562A 6 Ive Got A Feeling PS Thirty Days Disc 14 Track 7 NT In Let It Be CD Track 8 as RS. Roll 562A 7 One After 909 PS Thirty Days Disc 14 Track 8 NT Roll 562A 8 One After 909 9 Danny Boy PS Thirty Days Disc 14 Track 9,10 NT In Let It Be CD Track 8 as RS; In Get Back And 22 Other Songs as RM. Roll 562A 10 Dig A Pony PS Thirty Days Disc 14 Track 11

NT Roll 4001C 11 Dig A Pony PS Thirty Days Disc 14 Track 12 NT Roll 562A, 4001C 12 God Save The Queen PS Thirty Days Disc 14 Tracks 13 NT Roll 1147B, 1149B 13 Ive Got A Feeling PS Thirty Days Disc 14 Tracks 14 NT Roll 563A 14 A Pretty Girl Is Like A Melody PS Thirty Days Disc 14 Tracks 15 NT Roll 563A 15 Get Back PS Thirty Days Disc 14 Tracks 16 NT Roll 563A 16 Dont Let Me Down PS Thirty Days Disc 14 Tracks 17 NT Roll 563A 17 Get Back PS Thirty Days Disc 14 Tracks 18 NT In Anthology 3 Disc 2 Track 12 in RS. Roll 563A 12NPa (roll announcement) PS Unavailable NT Roll 1149B 12P God Save The Queen PS see 12 13P Ive Got A Feeling 14P A Pretty Girl Is Like A Melody 15P Get Back

16P Dont Let Me Down 17P Get Back PS Unavailable NT NT Roll 1149B 31 January 1969 1Na (roll announcement) PS Unavailable NT Roll 1150B 1 Two Of Us unavailable 2 (unknown) Disc 15 Track 1 3 Hey Good Lookin Disc 15 Track 1 4a Take This Hammer Disc 15 Track 2 4b Lost John Disc 15 Track 2 4c Five Foot High And Rising Disc 15 Track 2 4d Bear Cat Mama Disc 15 Track 2 4e Black Dog Blues Disc 15 Track 2 4f Right String, Wrong Yo-Yo Disc 15 Track 2 4g Run For Your Life Disc 15 Track 2 5 Two Of Us Disc 15 Track 3 6 Two Of Us Disc 15 Track 3 7 Friendship Disc 15 Track 4 8 Turkey In The Straw Disc 15 Track 5 9 Two Of Us Track 1 10 Step Inside Love Disc 15 Track 6 11 Friendship Disc 15 Track 7 12 Tales Of Frankie Rabbit Disc 15 Track 7 13 Two Of Us Disc 15 Track 8 14a Deed I Do Disc 15 Track 9 14b In The Middle Of An Island Disc 15 Track 9 14c All Together Now Disc 15 Track 9 15 Two Of Us Disc 15 Track 10 16 I Got Stung unavailable and Disc 15 Track 10 17 Step Inside Love unavailable 18 Let It Be unavailable 19 Let It Be unavailable 20 The Long And Winding Road unavailable 21 Let It Be unavailable 22 The Long And Winding Road unavailable 23 The Long And Winding Road Disc 15 Track 11 24 The Long And Winding Road Disc 15 Track 12 25 The Long And Winding Road Disc 15 Track 13 26 The Long And Winding Road Disc 15 Track 14 27 The Long And Winding Road Disc 15 Track 15 28 The Long And Winding Road Disc 15 Track 16 29 The Long And Winding Road unavailable 30 The Long And Winding Road Disc 15 Track 17 31 The Long And Winding Road Disc 15 Track 18 32 The Long And Winding Road Disc 15 Track 19 33 The Long And Winding Road Disc 15 Track 20

PS Thirty Days except 09: 69 Rehearsals Vol.2 NT Roll 564A, 1150B, 1151B, 1152B 34 Lady Madonna Disc 15 Track 21 35 The Long And Winding Road unavailable 36 The Long And Winding Road Disc 15 Track 22 37 The Long And Winding Road Disc 15 Track 23 38 The Long And Winding Road unavailable and Track 2 39 The Long And Winding Road Disc 15 Track 24 40 The Long And Winding Road Disc 15 Track 25 41 I Want You (Shes So Heavy) Disc 16 Track 1 42 Let It Be Disc 16 Track 2 43 Let It Be Disc 16 Track 3 44 Let It Be Disc 16 Track 4 45 Let It Be Disc 16 Track 5 46 Build Me Up, Buttercup unavailable 47 Let It Be unavailable 48 Let It Be Disc 16 Track 6 49 Let It Be Disc 16 Track 7 50 Let It Be Disc 16 Track 8 51 Lets Have A Party unavailable 49P Let It Be unavailable PS Thirty Days except 38: 69 Rehearsals Vol.2 NT Roll 565A, 1152B, 1153B, 1154B 52 (instrumental) unavailable 53 Let It Be unavailable 54 Let It Be Disc 16 Track 9 PS Thirty Days NT Roll 566A, 1154B 55 Let It Be Disc 16 Track 10 56 Let It Be Disc 16 Track 11 and 12 57 Let It Be Disc 16 Track 3 58a Let It Be Disc 16 Track 13 58b Twelfth Street Rag Disc 16 Track 13 59 Let It Be Disc 16 Track 14 60 Oh! Darling Disc 16 Track 15 61 Oh! Darling Disc 16 Track 16 62 (unknown) unavailable 63 Let It Be unavailable PS Thirty Days except 57: 69 Rehearsals Vol.2 NT Roll 556A, 1155B 64 Let It Be Disc 16 Track 17 65 Let It Be Disc 16 Track 18 PS Thirty Days NT 31.65 + 0:29 from 31.54 appears in Anthology soundtrack. Roll 566A

The Guide To BeaTles Recording VariaTions


compiled by Joseph Brennan

Intro: What's a Variation, and Why Do We Care?


One part of being a music fan is playing favorite recordings over and over. Like many people, I've found that I have memorized many small nuances of the performance on record. Sometimes, when listening to an old song on a new disk, I'll detect a difference in what is otherwise a very familiar recording. There may be a voice or instrument in one version that is not in the other, for example. This is a variation. Just when people started noticing Beatles variations is lost in the mists of time, but by the end of the Beatles' recording career as a group in 1970, lists of variations had become a perennial topic among some fans. One's credentials as a Beatles fan need not rest on whether one can recognize most of the variations. Plenty of genuine fans feel this is one of the most obsessive and boring topics imaginable, and would much rather discuss the meaning of the lyrics, the invention of the melody, or the relation of the song to the Beatles' lives and times. But who cares about all that, eh? No no, that's not what I mean... The variations open the door a little bit into how the recordings were made and prepared for release. The differences tell us something about how the sound was fixed on tape and what the engineers did to make records out of them. At least, they tell us something if we care to ask how the variations happened. Hasn't this "been done"? Well you may ask. Beatles Variations Lists have certainly appeared before. One reason to compile a list is simply to collate all the previous work on this topic. When it was suggested I put together something about variations, though, I was dissatisfied at simply rehashing old lists. Aside from the copyright violations (not that it's stopped writers of some of the books I've seen while researching this) it did seem a little boring as well. Nearly all of them are just lists. There are two reasons I've done this. Firstly- Collating existing lists does not result in a good list. I found by listening that many of the variations were not well described. Although I decided to be nice and not make this a catalog of the failings of other sources, a few instances are so wildly wrong that I did mention them. There were times when I wondered whether the writers had even heard the record they were describing. The amount of mindless copying from one print source to another has to be seen to be believed. I found that I had to go listen for myself,

and quiz people closely to be sure they heard what they said they did on rare disks I couldn't get hold of. Secondly- I wanted to understand why they vary. The only list that relates variations to what we know about the recording sessions is a series of articles by Steve Shorten in "The 910", which was unfortunately limited by space to highlights. As Steve noted in his first article, the publication of Mark Lewisohn's book "The Beatles Recording Sessions" in 1988 provided an important framework on which to base an improved listing of variations. For the first time, we had specific information about dates of recording (some of which had been known) and of mixing (none of which had been known, I think). This made it possible to look for variations based on how many times a song was mixed at EMI Abbey Road, instead of the hopeless method of listening to every record released in the world. Not only is "The Beatles Recording Sessions" a goldmine of information, but Lewisohn lacked the space or inclination to apply his data to the problem of variations. He even calls some mixes unused based on nonappearance in England. Tom Bowers and I did some work on finding those in 1991, reported in the Usenet group rec.music.beatles. It became clear that most of the mixes had been used somewhere, and they accounted for some of the variations that had been spotted previously. Mark's excellent work also provides enough information to figure out just how the variants arose. Some of them, especially the earlier ones recorded in 2-track, are editing differences, while others are differences in how the multi-track master tapes were mixed down for record. Let me emphasize that, with just a very few exceptions, the mono version of a Beatles song is not the stereo version combined into one channel. On the contrary, George Martin mixed for mono first in almost all cases and then did a stereo mix separately. Right here we have a reason for variations, since the same edits and mixing had to be done twice. In some cases there are two or more mono or stereo mixes, providing yet more chances for variations. The mixes were supposed to sound the same, usually. However, his practice of making separate mono and stereo mixes shows that George Martin did care about how the record would sound in both finished forms, and he may have deliberately mixed some songs differently. Other times, small things are fixed in one mix and overlooked in another, or difficult editing may be done a little better in one of the attempts. George Martin and staff weren't perfect. That they had problems mixing songs the way they wanted makes the recording process seem a little less mechanical to me. Obviously the mono and stereo mixes of any song are different. One is mono and one is stereo! Besides that, careful comparison of the mono mix to the stereo mix played as mono would doubtless turn up some differences in emphasis. But what we're really after here in a variations list is larger game: different edits, sound mixed out in one version,

different stereo images, and so on-- things that are really noticeable. Well, maybe I stretch the limits on "really noticeable" at times. Forget the ones that seem trivial to you. Aside from the dubious contribution of Capitol Records USA, I'm not, mostly, listing atrocities performed outside EMI Abbey Road. They're not genuine, just stupid mistakes mastering records-- speed problems, premature fadeouts, defects in tapes, even editing-and the ever-popular mock stereo. Nobody around the Beatles authorized them. Even Capitol is included just out of parochial interest to me and to the large contingent of fans in the USA-- although I could argue Capitol's work is of more than local interest since some other affiliates such as Odeon (Germany) got masters from Capitol. Capitol certainly doesn't begin and end the tampering stories-- there's that "Penny Lane" from Brazil with a line edited out for no known reason, a "Devil in her Heart" from Mexico with the very end faded off... but I digress. If you live outside the USA, I invite you to catalog your own country's label's lack of judgement.

Format of Entries
Each listing contains the following information, intended to identify variations or point to where they might occur:

TITLE
basic recording- (date and location of the basic track) additional recording- (date and location of all other recording) master tape- (tape tracks and generations of master tape)

[a] mono (or stereo, etc), (date and location of the mix) (Country): (record label, catalog number, title if any, year) (etc) (CD): (record label, catalog number, title, year) [b] (same information for a second mix) (etc)

(Notes on variations, or things that might lead to variations.) All the information given is related to variations. I deliberately omit otherwise important and useful information like songwriters, lead singers, and exact dates of release. All recording and mixing was done at EMI Abbey Road studios unless some other location is given. All other locations are in London unless specified. Information about

the recording and mixing dates and the tape tracks is almost all from Mark Lewisohn's two books. See those books for far more detail than this. Mixes are identified by arbitrary letters [a], [b], and so on, in the order they were created. Numbers [a1], [a2] and so on refer to variants of mixes, such as mono made by combining signal from a stereo mix, or mock stereo electronically created from a mono mix (see below). Therefore for example [a] and [b] are distinct mixes made from the original master tape, while [a1] is just a variant of [a]. This is significant because a variant cannot contain any authentic sound not on the mix from which it was made. A mix referred to as "mock stereo" is mono electronically rechannelled to simulate stereo (as it was often called) or duophonic (as Capitol liked to call it), a process of distorting mono sound by feeding different frequencies to right and left channel and possibly delaying some of the sound as well. This processing was popular when it was believed that a people wanted any kind of stereo on a record labelled stereo. Some songs on the Anthology sets that I call mono are not perfectly mono. They have a very slight difference in left and right channel, almost unnoticeable. Whether this is a processed mono mix or an extremely narrow stereo mix is hard to say, and if it is this hard to tell that it isn't straight mono, I'm calling it mono. I'm still not totally sure the effect is even intentional although it probably is. The releases I list include all the original UK and US singles and LPs, and the two UK EP releases with new material. However, sometimes a mix first appeared after 1970, or in another country, and this is why I do list selected post-1970 and foreign releases. Records are shown by country, label, number, short title, and year. The CD issues are the same worldwide (so far!). CD singles and EPs are not listed unless there is something unusual on them. All the songs on the red and blue albums ("The Beatles 1962-1966" and "The Beatles 1967-1970") sound a little better than they do on the original album CDs, which reflects better CD mastering in 1993 than in 1987, and only differences beyond that are mentioned. Vinyl releases continue in the CD era. All albums are released also on LP, and there have been some vinyl singles not corresponding to CDs. The collector of variations rarely needs the vinyl in addition to the CD. However, even though I do not list the new vinyl, it cannot be ignored. For example, on the 1994 "Live at the BBC", the vinyl has a clean end and start of two tracks that are crossfaded together on CD. Any known differences on vinyl are mentioned in the notes. Some of the recording and mixing detail suggests there may be differences where none have been reported. There are numerous songs with mono and stereo mixes for which no significant difference is mentioned, for example. Readers may wish to check these. There is often some difference in "feel" in pairs of mono and stereo mixes that is difficult to describe. Listings in this guide usually refer only to specific sounds present in one mix and not another. There are often subtle differences in tone and presence.

The "master tape" line, listing the tape tracks and generations, is there to give an idea how much is already mixed on the master, and therefore how much variation there could be on final mixes. Nearly all the songs were partly mixed during recording, quite unlike what happens today in recording to 48 or more tracks. Very often, input from more than one microphone, such as multiple instruments or voices, was mixed into one tape track during recording, and therefore cannot ever be remixed (well, not without real trickery anyway). Sound-on-sound overdubbing (mixing live sound with playback of earlier recording into one track of a new tape) was used particularly in the twin-track days, and is another form of mixing during recording. "Bouncing down" is yet another form: with 4 or 8 track tape, they sometimes mixed a full tape into 2 tracks (or 1 or 3) of another generation, where there would then be room for more overdubs. Done once, this makes the master a what is called here a "2d generation" tape (i.e. some of the sound is one copy away from the original). Up to 1995, only the very last generation of recording had been used to create mixes for release, so the "generations" remark is relevant. See Mark Lewisohn's "Recording Sessions" book for varyingly detailed descriptions of what is on each generation of tape. In 1993, I wrote here: "It would be possible to create a digital master with all the tracks of various generations synchronized and to remix from that, but this has not been done (yet)." It's been done. On Anthology 2 is a mix of Penny Lane made from a master that has all the tape tracks from 4 original reels synchronized on one digital tape. Is this a sign of things to come? It makes my listing of generations obsolete, to some extent, and will allow many new variations that had not been possible.

Song Index
1961: --AIN'T SHE SWEET --CRY FOR A SHADOW --IN SPITE OF ALL THE DANGER [private recording] --MY BONNIE [MY BONNIE LIES OVER THE OCEAN] --NOBODY'S CHILD --TAKE OUT SOME INSURANCE ON ME -THAT'LL BE THE DAY [private recording] --THE SAINTS [WHEN THE SAINTS GO MARCHING IN] --The Quarrymen --The Quarrymen --WHY (CAN'T YOU LOVE ME AGAIN) --[amateur tape recordings] 1962: --ASK ME WHY --BESAME MUCHO [outtake] --HELLO LITTLE GIRL [audition tape] --HOW DO YOU DO IT [outtake] --LIKE DREAMERS DO [audition tape] --LOVE ME DO [1] --LOVE ME DO [2] --LOVE ME DO [outtake] --PLEASE PLEASE ME [1] --PLEASE PLEASE ME [2] --PLEASE PLEASE ME [outtake] --P.S. I LOVE YOU --SEARCHIN' [audition tape] --SWEET GEORGIA BROWN --[Star-Club performances] --THE SHEIK OF ARABY [audition tape] --THREE COOL CATS [audition tape]

1963: --[1963 Royal Command Performance (Royal Variety Show)] --A TASTE OF HONEY --ALL I'VE GOT TO DO --ALL MY LOVING --ANNA --[ATV, The Morecambe and Wise Show of 18 Apr 1964] --[ATV, Val Parnell's Sunday Night at the London Palladium of 13 Oct 1963] --BABY, IT'S YOU --[BBC radio, Easy Beat of 20 Oct 1963] --[BBC radio, Easy Beat of 23 Jun 1963] --[BBC radio, Pop Go the Beatles of 10 Sep 1963] --[BBC radio, Pop Go the Beatles of 11 Jun 1963] --[BBC radio, Pop Go the Beatles of 13 Aug 1963] --[BBC radio, Pop Go the Beatles of 16 Jul 1963] --[BBC radio, Pop Go the Beatles of 18 Jun 1963] --[BBC radio, Pop Go the Beatles of 20 Aug 1963] --[BBC radio, Pop Go the Beatles of 23 Jul 1963] --[BBC radio, Pop Go the Beatles of 25 Jun 1963] --[BBC radio, Pop Go the Beatles of 27 Aug 1963] --[BBC radio, Pop Go the Beatles of 3 Sep 1963] --[BBC radio, Pop Go the Beatles of 30 Jul 1963] -[BBC radio, Pop Go the Beatles of 6 Aug 1963] --[BBC radio, Public Ear of 3 Nov 1963] --[BBC radio, Saturday Club of 24 Aug 1963] --[BBC radio, Saturday Club of 26 Jan 1963] --[BBC radio, Saturday Club of 5 Oct 1963] --[BBC radio, Side by Side of 24 Jun 1963] --BOYS --CHAINS --DEVIL IN HER HEART --DO YOU WANT TO KNOW A SECRET --DON'T BOTHER ME --FROM ME TO YOU --HOLD ME TIGHT --I SAW HER STANDING THERE --I SAW HER STANDING THERE [outtake] --I WANNA BE YOUR MAN --I WANT TO HOLD YOUR HAND --I'LL GET YOU --IT WON'T BE LONG --LITTLE CHILD --MISERY --MONEY --NOT A SECOND TIME --ONE AFTER 909 [outtakes] --PLEASE MR POSTMAN --ROLL OVER BEETHOVEN -SHE LOVES YOU --[Sveriges Radio, The Beatles, Popgrupp... of 11 Nov 1963] -THANK YOU GIRL --THERE'S A PLACE --THIS BOY --THIS BOY [outtakes] -TILL THERE WAS YOU --TWIST AND SHOUT --YOU REALLY GOT A HOLD ON ME 1964: -- KANSAS CITY/HEY HEY HEY HEY [outtake] --A HARD DAY'S NIGHT -A HARD DAY'S NIGHT [outtake] --AND I LOVE HER --AND I LOVE HER [outtake] --ANY TIME AT ALL --BABY'S IN BLACK --[BBC radio, From Us to You of 18 May 1964] --[BBC radio, From Us to You of 30 Mar 1964] --[BBC radio, Saturday Club of 15 Feb 1964] --[BBC radio, Saturday Club of 26 Dec 1964] --[BBC radio, Top Gear of 16 Jul 1964] --[BBC radio, Top Gear of 26 Nov 1964] --CAN'T BUY ME LOVE --CAN'T BUY ME LOVE [outtake] --[CBS TV, The Ed Sullivan Show of 9 Feb 1964] --EIGHT DAYS A WEEK --EIGHT DAYS A WEEK [outtakes] --EVERY LITTLE THING -EVERYBODY'S TRYING TO BE MY BABY --HONEY DON'T --[Hollywood Bowl concert 1] --I CALL YOUR NAME --I DON'T WANT TO SPOIL THE PARTY --I FEEL FINE --I SHOULD HAVE KNOWN BETTER --IF I FELL --I'LL BE BACK -I'LL BE BACK [outtakes] --I'LL CRY INSTEAD --I'LL FOLLOW THE SUN --I'M A LOSER --I'M HAPPY JUST TO DANCE WITH YOU --KANSAS CITY/HEY HEY HEY HEY --KOMM, GIB MIR DEINE HAND --LEAVE MY KITTEN ALONE [outtake] --LONG TALL SALLY --MATCHBOX --MR MOONLIGHT --MR MOONLIGHT [outtake] --NO REPLY --NO REPLY [outtakes] --ROCK AND ROLL MUSIC --[Rediffusion TV, Around the Beatles, 6 May 1964] --SHE'S A WOMAN --SIE LIEBT DICH --SLOW DOWN --TELL ME WHY --THINGS WE SAID TODAY -WHAT YOU'RE DOING --WHEN I GET HOME --WORDS OF LOVE --YOU CAN'T DO THAT --YOU CAN'T DO THAT [outtake] --YOU'LL KNOW WHAT TO DO [outtake]

1965: --12-BAR ORIGINAL [outtake] --[ABC TV, Blackpool Night Out of 1 Aug 1965] --ACT NATURALLY --ANOTHER GIRL --BAD BOY --[BBC radio, The Beatles Invite You to Take a Ticket to Ride] --DAY TRIPPER --DIZZY MISS LIZZIE --DRIVE MY CAR --GIRL --HELP! --[Hollywood Bowl concert 2] --[Hollywood Bowl concert 3] --I NEED YOU --IF I NEEDED SOMEONE --IF YOU'VE GOT TROUBLE [outtake] -I'M DOWN --I'M DOWN [outtake] --I'M LOOKING THROUGH YOU --I'M LOOKING THROUGH YOU [outtake] --IN MY LIFE --IT'S ONLY LOVE --IT'S ONLY LOVE [outtakes] --I'VE JUST SEEN A FACE --MICHELLE --NORWEGIAN WOOD --NORWEGIAN WOOD [outtake] --NOWHERE MAN --RUN FOR YOUR LIFE --[Shea Stadium concert] --TELL ME WHAT YOU SEE --THAT MEANS A LOT [outtake] --THE NIGHT BEFORE --THE WORD --THINK FOR YOURSELF -TICKET TO RIDE --WAIT --WE CAN WORK IT OUT --WHAT GOES ON --YES IT IS --YES IT IS [outtake] --YESTERDAY --YESTERDAY [outtake] --YOU LIKE ME TOO MUCH --YOU WON'T SEE ME --YOU'RE GOING TO LOSE THAT GIRL -YOU'VE GOT TO HIDE YOUR LOVE AWAY --YOU'VE GOT TO HIDE YOUR LOVE AWAY [outtake] 1966: --AND YOUR BIRD CAN SING --AND YOUR BIRD CAN SING [outtake] -DOCTOR ROBERT --ELEANOR RIGBY --FOR NO ONE --GOOD DAY SUNSHINE --GOT TO GET YOU INTO MY LIFE --GOT TO GET YOU INTO MY LIFE [outtake] --HERE, THERE AND EVERYWHERE --HERE, THERE AND EVERYWHERE [outtake] --I WANT TO TELL YOU --I'M ONLY SLEEPING --I'M ONLY SLEEPING [outtakes] --LOVE YOU TO --[Nippon Budokan Hall concert] --PAPERBACK WRITER --PENNY LANE --RAIN --SHE SAID SHE SAID --STRAWBERRY FIELDS FOREVER --STRAWBERRY FIELDS FOREVER [demos] --STRAWBERRY FIELDS FOREVER [outtake] --TAXMAN --TOMORROW NEVER KNOWS --TOMORROW NEVER KNOWS [outtake] --WHEN I'M SIXTY-FOUR --YELLOW SUBMARINE 1967: --A DAY IN THE LIFE --ALL TOGETHER NOW --ALL YOU NEED IS LOVE --BABY, YOU'RE A RICH MAN --BEING FOR THE BENEFIT OF MR KITE! -BEING FOR THE BENEFIT OF MR KITE! [outtakes] --BLUE JAY WAY -CHRISTMAS TIME IS HERE AGAIN [compilation] --[EDIT FOR LP END / Sgt Pepper inner groove] --FIXING A HOLE --FLYING --GETTING BETTER --GOOD MORNING GOOD MORNING --HELLO GOODBYE --I AM THE WALRUS --IT'S ALL TOO MUCH --LOVELY RITA --LUCY IN THE SKY WITH DIAMONDS -MAGICAL MYSTERY TOUR --ONLY A NORTHERN SONG --SGT PEPPER'S LONELY HEARTS CLUB BAND --SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE) --SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE) [outtake] -SHE'S LEAVING HOME --THE FOOL ON THE HILL --THE FOOL ON THE HILL [demo outtake] --WITH A LITTLE HELP FROM MY FRIENDS --WITHIN YOU WITHOUT YOU --YOU KNOW MY NAME (LOOK UP THE NUMBER) --YOUR MOTHER SHOULD KNOW --YOUR MOTHER SHOULD KNOW [outtake] --[dog cut] 1968: --ACROSS THE UNIVERSE --ACROSS THE UNIVERSE [outtake] --BACK IN THE U.S.S.R. --BIRTHDAY --BLACKBIRD --BLACKBIRD [outtake] --[CAN YOU

TAKE ME BACK] --CRY BABY CRY --CRY BABY CRY [outtake] --DEAR PRUDENCE --DON'T PASS ME BY --EVERYBODY'S GOT SOMETHING TO HIDE EXCEPT ME AND MY MONKEY --GLASS ONION --GLASS ONION [demo] -GOOD NIGHT --GOOD NIGHT [outtake] --HAPPINESS IS A WARM GUN -HAPPINESS IS A WARM GUN [demo] --HELTER SKELTER --HELTER SKELTER [outtake] --HEY BULLDOG --HEY JUDE --HEY JUDE [outtake] --HONEY PIE -HONEY PIE [demo] --I WILL --I WILL [outtake] --I'M SO TIRED --I'M SO TIRED [outtake] --JULIA --JULIA [outtake] --JUNK [demo] --LADY MADONNA --LONG LONG LONG --MARTHA MY DEAR --MEAN MR MUSTARD [demo] --MOTHER NATURE'S SON --MOTHER NATURE'S SON [outtake] --NOT GUILTY [outtake] -OB-LA-DI, OB-LA-DA --OB-LA-DI, OB-LA-DA [outtake] --PIGGIES --PIGGIES [demo] --POLYTHENE PAM [demo] --REVOLUTION 1 --REVOLUTION [2] -REVOLUTION 9 --ROCKY RACCOON --ROCKY RACCOON [outtake] --SAVOY TRUFFLE --SEXY SADIE --SEXY SADIE [outtake] --STEP INSIDE LOVE / LOS PARANOIAS [outtake] --THE CONTINUING STORY OF BUNGALOW BILL --THE INNER LIGHT --WHAT'S THE NEW MARY JANE [outtake] --WHILE MY GUITAR GENTLY WEEPS --WHILE MY GUITAR GENTLY WEEPS [outtake] --WHY DON'T WE DO IT IN THE ROAD --WHY DON'T WE DO IT IN THE ROAD [outtake] -WILD HONEY PIE --YER BLUES 1969: --AIN'T SHE SWEET [outtake] --ALL THINGS MUST PASS [demo] -BECAUSE --BLUE SUEDE SHOES [outtake] --COME AND GET IT [outtake] -COME TOGETHER --COME TOGETHER [outtake] --DIG A PONY --DIG A PONY [outtake] --DIG IT! --DON'T LET ME DOWN --FOR YOU BLUE --FOR YOU BLUE [outtake] --GET BACK --GET BACK [outtake] --GOLDEN SLUMBERS / CARRY THAT WEIGHT --HER MAJESTY --HERE COMES THE SUN --I ME MINE --I WANT YOU (SHE'S SO HEAVY) --I'VE GOT A FEELING --I'VE GOT A FEELING [outtake] --LET IT BE --LET IT BE [outtake] --MAGGIE MAE --MAILMAN, BRING ME NO MORE BLUES [outtake] --MAXWELL'S SILVER HAMMER --MAXWELL'S SILVER HAMMER [outtake] --OCTOPUS'S GARDEN --OCTOPUS'S GARDEN [outtake] --OH! DARLING --OH! DARLING [outtake] --OLD BROWN SHOE --OLD BROWN SHOE [demo] --ONE AFTER 909 --POLYTHENE PAM / SHE CAME IN THROUGH THE BATHROOM WINDOW --RIP IT UP / SHAKE, RATTLE AND ROLL [outtake] --SHE CAME IN THROUGH THE BATHROOM WINDOW [outtake] --SOMETHING --SOMETHING [demo] --SUN KING / MEAN MR MUSTARD -TEDDY BOY [outtake] --THE BALLAD OF JOHN AND YOKO --THE END --THE LONG AND WINDING ROAD --TWO OF US --TWO OF US [outtake] --YOU NEVER GIVE ME YOUR MONEY 1994: --FREE AS A BIRD --REAL LOVE

Notes on CD Releases
For the EMI recordings, the important CD releases are the CD for each original album, the two "Past Masters" CDs, the "1962-1966" and "1967-1970" collections, and the newon-CD sets "Live at the BBC" and "Anthology" and the related CD singles. I use the shorthand "EMI single 1988" or 1989 to cover both the 3-inch singles (issued with different catalog numbers in the US and UK) and the 5-inch singles in the CD singles box. I don't mention the CD EP box except for songs unique to the EP set and the first appearance of the improved She Loves You. A John Lennon CD is mentioned for A Day in the Life with clean intro. The "Live at the BBC" set is unusual in that it is all excerpts edited from radio programs, rather than songs that can be considered as units. I've made just one listing per original program, with a special format of sub-listing for each segment that was excerpted. Every one could be considered "edited" because it is an excerpt, but besides that, many songs may have been subject to some special treatment where there was talk overlapping the first or last notes, or where the best available source didn't catch the start or finish. Sound quality variations, even after processing, suggest some shows were recovered from more than one source, but little more can be said with certainty. The "Anthology" set now adds many more recorded performances to the canon of legitimately released works, but almost all are home recordings, demos, outtakes, concerts or broadcasts, so I have taken care to mark them with some comment in square brackets to avoid any confusion with the standard versions of many of the same songs. Because some of these have had a long history on bootlegs, and occasionally are less historically authentic than the unedited bootleg versions, I've made some reference to their unauthorized prior appearances. What label are the CDs on? Referring to a handy "Magical Mystery Tour" CD, I see on the CD itself a label showing the Parlophone logo on top, EMI listed several times as the holder of copyright and publication, and a small "manufactured by Capitol". On the exterior of the case, no label is clearly shown anywhere. I am listing the CDs as "EMI". The recordings are owned by EMI and released under some deal with Apple; I suppose they are all on Apple now, although Apple was not yet active again during the big CD reissue of 1987-1988, so it was not the original label for those. The CD singles make available the mono mixes of all singles up to and including Get Back, some of which are not on the album CDs. Collectors without full vinyl holdings may therefore want most of the CD singles to get these mixes. The EP collection in a box repeats a lot of the same mono mixes, and is a source, however financially painful, for the "Long Tall Sally" and "Magical Mystery Tour" songs in mono.

"Abbey Road" was issued on CD in Japan in 1983 by Toshiba-EMI before the general CD release of the Beatles' albums worldwide. Despite its high value as a collectors' item, it is inferior to the more common CD, because it was made from an LP master Toshiba had. Because of that and its rarity (it was on sale for only 2 years), I don't list it. The Hamburg recordings with Tony Sheridan in 1961 have been reissued numerous times on CD, just as they were on LP. The first collected, authentic release was "The Beatles' First", 1985, Polydor (Germany), which was reissued within months as "The Early Tapes", the title under which I list it. The catalog number was not changed, and the main change seems to have been replacing the original artwork that showed Ringo. It was preceded on CD by a bootleg of the "Savage Young Beatles" set that has been listed as legitimate in some places. Some of the songs have been issued elsewhere on other CDs, but the only thing you don't get on "The Early Tapes" is Ain't She Sweet in stereo, so that's the only song I've given more CD listings. The Star-Club recordings of December 1962 have also turned up on CD, and so have even 12 of the so-called Decca Audition songs, though briefly. Since these are of pretty questionable legality, I have made my life easier by excluding them as bootlegs. Who has legal rights to release these?-- contractually, probably Polydor (via Bert Kaempfert Produktion) for anything in 1962 up to June, and definitely EMI for the Star-Club, but as with the BBC recordings, the owner of the recording and of the rights are different in both cases.

10

1958-1961
The Quarrymen THAT'LL BE THE DAY [private recording]
basic recording- 1958, Phillips Sound Recording Service, Liverpool additional recording- none master- mono disk

[a] mono recording. reprocessed 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

One disk was made of this and In Spite of All the Danger (see next entry), and shared among the Quarrymen. Pianist John Duff Lowe found it, forgotten, in a box of his old things in 1981, and it was purchased by Paul McCartney in July of that year. The beginning of this song was played on the BBC TV program "Buddy Holly", 12 Sept 1985, but was faded out under some narration by Paul; the portion was bootlegged many times. Mix [a] is believed to be the entire song, processed to remove noise.

The Quarrymen IN SPITE OF ALL THE DANGER [private recording]


basic recording- 1958, Phillips Sound Recording Service, Liverpool additional recording- none master- mono disk

[a] mono recording. reprocessed and edited 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

This was the other side of the disk of That'll Be the Day (see above). For mix [a], about 40 seconds was edited out, removing a repeat of the second verse and middle eight, and it was processed to remove noise. No other version has been leaked.

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[ amateur tape recordings ]


basic recording- probably Apr 1960 at Paul McCartney's home. additional recording- none master tape- mono

segment, Hallelujah, I love her so [a] mono recording. reprocessed 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Faded early, about half the length found on the known source.

segment, You'll be mine [a] mono recording. reprocessed 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. This is complete, just seconds shorter than the known source.

segment, Cayenne [a] mono recording. reprocessed 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Edited and faded early, about half the length found on the known source.

These recordings come from a series of tapes made probably in April 1960 and known as the Quarrymen tapes. Surviving are a few copies of two source tapes, and of a compilation tape selected from those three and at least one more lost source tape. One song was played on German TV in 1966, and Philip Norman describes listening at least one of the tapes in his book "Shout!" (1981), but the contents did not circulate widely until many of the songs, including all three used above, appeared on the bootleg LP Liverpool May 1960 in 1987, and then more appeared on the 2-LP The Quarrymen at Home in 1988. Cayenne was mistitled "Thinking of linking" on the Liverpool May 1960 bootleg. Paul purchased the compilation tape in 1995, which includes all three songs above and three more heard in part on the video Anthology. However, a source reported to "The 910" that the Anthology versions and the bootlegs share reverb that was not on the originals, as if the bootleg, which also has all six songs, was used as the source. The Anthology versions sound clearer than the bootleg, however.

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Tony Sheridan MY BONNIE [MY BONNIE LIES OVER THE OCEAN]


basic recording- 22-23 Jun 1961, Friedrich-Eberts-Halle, Hamburg-Harburg additional recording- none master tape- 2 track

[a] (English intro) stereo 22-23 Jun 1961, Germany. Germany: Polydor 237 112 My Bonnie 1962. CD: Polydor 823 701-2 Early Tapes 1985, Polydor (Germany) 840 556-2 Tony Sheridan vol. 3. [a1] (English intro) mono made from [a] 1961, Germany. Germany: Polydor 24 673 "Twist" single 1962, Polydor 46 612 My Bonnie 1962, Polydor 21 610 (EP) My Bonnie 1963. UK: Polydor 66 833 single 1962, Polydor 21 610 (EP) My Bonnie 1963. US: Decca 31382 single 1962. [a2] (no intro) stereo made from [a] 1964, Germany. Germany: Polydor 237 622 Let's do the Twist 1964, Polydor 237 632 Beatles First 1964. UK: Polydor 237 622 Let's do the Twist 1964, Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. [a3] (no intro) mono made from [a2] 1964, Germany. Germany: Polydor 52 273 single 1964, Polydor 46 422 Let's do the Twist 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 52 273 single 1964, Polydor 46 422 Let's do the Twist 1964. US: MGM K 13213 single 1964, MGM E 4215 Beatles with Tony Sheridan 1964. [a4] (no intro) mock stereo made from [a2] 1964, by MGM, USA. US: MGM SE 4215 Beatles with Tony Sheridan 1964. [a5] (English intro) stereo made from [a] 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. [b] (German intro) stereo 22-23 Jun 1961, Germany. Germany: Polydor 2 801 033 single 1978 CD: Polydor (Germany) 841 141-2 Tony Sheridan vol. 1. [b1] (German intro) mono made from [b] 1961, Germany. Germany: Polydor 24 673 "Mein Herz ist bei dir nur" single 1961. France: Polydor 21 914 Mr Twist (EP) 1962, Polydor 45 900 Les Beatles 1964. Sweden: Polydor 2 230 114 EP 1982.

This song comes with a slow introduction in English (32 seconds) or German (35 seconds) or with no introduction. The two intros are similar musically but slight

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differences show them to be different takes and not vocals dubbed on the same backing track. The recollection of engineer Karl Hinze is that the Harburg recordings were made on a portable 2-track deck and mixed live to stereo. This means the mono mixes are all reductions of the stereo mixes, and not separate mixes as they are in the case of nearly all the EMI recordings. The mono and stereo versions therefore should not contain variations, and none has been found. The order of recording of the eight songs is not known. The master tapes and documentation kept by Bert Kaempfert Produktion were lost in a fire, but the recording dates given to Polydor in 1961-1964 were copied from the now-lost Kaempfert files and should be correct. The first two days' work is shown only as 22-23 June. My Bonnie and The Saints first appeared in 1961, Why and Cry for a Shadow early in 1962 in France, Sweet Georgia Brown late in 1962, and the rest in 1964. Gottfridsson's book The Beatles: From Cavern to Star-club details the recording and releases. Hinze refers to the loss of the slow intro to My Bonnie as an edit, which would mean the English intro is part of the recording and the German intro uses an edit piece. We know that the test pressing record the Beatles brought to England on July 2 had the English intro. But it still may be that both intros are edit pieces added to a recording of the song only. Single 24 673 was issued in two versions but with the same number, the German intro in Oct 1961 and the English intro in Jan or Feb 1962. They have the same sleeve, except that the English intro version has the word "Twist" in a large box on the front, and the German intro version has the subtitle "(Mein Herz ist bei dir nur)" shown on the back and on the label. The "Twist" English intro was used for the UK and US singles in 1962, for Tony Sheridan's first album in 1962 (in mono and stereo), and again on an EP in 1963. The German intro is much the rarer of the two, and was used again after 1961 only on a French EP and again on a 1964 French LP, after which it has been used only on special releases. It finally appeared in stereo on a 1978 German single, a limited pressing but at least for sale to the general public. The German lyric is by Bernd Bertie, whose name sometimes appears on labels for versions with the English intro or no intro-- a "variation" of sorts. Starting with reissue singles of 1964, the no-intro version became standard on all releases. From 1978, the stereo English intro again became standard and is for example on the CD. The modified mix [a5] for the Anthology has the English intro crossfaded with unrelated spoken word, obscuring the first line of the vocal, and an edit occurs at the end of the intro, after which the stereo image is reversed. The sound balance has also been altered, possibly to emphasize the Beatles' role, but the bass is less convincing. This was probably done at EMI, London. The reversal adds weight to the idea the intro is a separate edit

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piece, but EMI may have separated it from the body as they worked on the crossfade for Anthology.

Tony Sheridan THE SAINTS [WHEN THE SAINTS GO MARCHING IN]


basic recording- 22-23 Jun 1961, Friedrich-Eberts-Halle, Hamburg-Harburg additional recording- none master tape- 2 track

[a] stereo, 22-23 Jun 1961. Germany: Polydor 237 112 My Bonnie 1962, Polydor 237 622 Let's do the Twist 1964, Polydor 237 632 Beatles First 1964. UK: Polydor 237 622 Let's do the Twist 1964, Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor 823 701-2 Early Tapes 1985. [a1] mono made from [a] 1961, Germany. Germany: Polydor 24 673 single 1961, Polydor 46 612 My Bonnie 1962, Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 273 single 1964, Polydor 46 422 Let's do the Twist 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 66 833 single 1962, Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 273 single 1964, Polydor 46 422 Let's do the Twist 1964. US: Decca 31382 single 1962, MGM K 13213 1964, MGM E 4215 Beatles with Tony Sheridan 1964. France: Polydor 21 914 Mr Twist (EP) 1962, Polydor 45 900 Les Beatles 1964. [a2] mock stereo made from [a1] 1964, by MGM, USA. US: MGM SE 4215 Beatles with Tony Sheridan 1964.

Tony Sheridan WHY (CAN'T YOU LOVE ME AGAIN)


basic recording- 22-23 Jun 1961, Friedrich-Eberts-Halle, Hamburg-Harburg additional recording- none master tape- 2 track

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[a] stereo 22-23 Jun 1961, Germany. Germany: Polydor 237 622 Let's do the Twist 1964, Polydor 237 632 Beatles First 1964. UK: Polydor 237 622 Let's do the Twist 1964, Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor 823 701-2 Early Tapes 1985. [a1] mono made from [a] 1961, Germany. France: Polydor 21 914 Mr Twist (EP) 1962, Polydor 45 900 Les Beatles 1964. Germany: Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 275 single 1964, Polydor 46 422 Let's do the Twist 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 275 single 1964, Polydor 46 422 Let's do the Twist 1964. US: MGM K 13213 single 1964, MGM E 4215 Beatles with Tony Sheridan 1964. [a2] mock stereo made from [a1] 1964, by MGM, USA. US: MGM SE 4215 Beatles with Tony Sheridan 1964.

The little-known first release was on the French "Mr Twist" LP.

CRY FOR A SHADOW


basic recording- 22-23 Jun 1961, Friedrich-Eberts-Halle, Hamburg-Harburg additional recording- none master tape- 2 track

[a] stereo 22-23 Jun 1961, Germany. Germany: Polydor 237 622 Let's do the Twist 1964, Polydor 237 632 Beatles First 1964. UK: Polydor 237 622 Let's do the Twist 1964, Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor 823 701-2 Early Tapes 1985, Apple CDP 8 34445 2 Anthology 1 1995. [a1] mono made from [a] 1963?, Germany. France: Polydor 21 914 Mr Twist (EP) 1962, Polydor 45 900 Les Beatles 1964. Germany: Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 275 single 1964, Polydor 46 422 Let's do the Twist 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 21 610 (EP) My Bonnie 1963, Polydor 52 275 single 1964, Polydor 46 422 Let's do the Twist 1964. US: MGM K 13213 single 1964, MGM E 4215 Beatles with Tony Sheridan 1964. [a2] mock stereo made from [a1] 1964, by MGM, USA. US: MGM SE 4215 Beatles with Tony Sheridan 1964.

The stereo image was reversed for Anthology for no known reason, and the sound quality sounds slightly different.

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As with Why, the little-known French EP "Mr Twist" was the first release, strange in this case since it was credited only to Tony Sheridan when he does not even play on it.

Tony Sheridan NOBODY'S CHILD


basic recording- 22-23 June 1961, Friedrich-Eberts-Halle, Hamburg-Harburg additional recording- none master tape- 2 track

[a] stereo 23 Jun 1961, Germany. Germany: Polydor 237 632 Beatles First 1964. UK: Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor 823 701-2 Early Tapes 1985. [a1] mono made from [a] 1964?, Germany. France: Polydor 21 965 (EP) 1964, Polydor 45 900 Les Beatles 1964. Germany: Polydor 46 432 Beatles First 1964. [a2] mono made from [a1] 1964, by Atlantic, USA. edited. US: Atco 6308 single 1964, Atco 33-169 Ain't She Sweet 1964. [a3] mock stereo made from [a2] 1964, by Atlantic, USA. US: Atco SD 33-169 Ain't She Sweet 1964.

Gottfridsson did not find any original documentation at Polydor dating this song. The 1985 CD set puts it as 22-23 Jun, which may be a guess; it's that or 24 Jun, anyway. Atlantic edited 58 seconds to bring [a2] to a still long (for 1964) 2:54, losing most of the second verse and, stranger, two guitar chords just at the end (but keeping the last bass note). Polydor 52 906, a 1964 German Tony Sheridan single of Sweet George Brown, has a different recording of this song with just Tony solo, no bass and drums.

AIN'T SHE SWEET


basic recording- 24 June 1961, Studio Rahlstedt, Hamburg additional recording- 1964, USA master tape- 2 track

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[a] stereo 24 Jun 1961, Germany. Germany: Polydor 237 632 Beatles First 1964. UK: Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor (Japan) POCP-2306 Beatles Oldies 1994 [also POCP-9064 in 1996], Polydor (Germany) 840 556-2 Tony Sheridan, vol. 3. [a1] mono made from [a] 1964?, Germany. France: Polydor 21 965 (EP) 1964, Polydor 45 900 Les Beatles 1964. Germany: Polydor 52 317 single 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 52 317 single 1964. [b] mono based on [a1] 1964, by Atlantic, USA. US: Atco 6308 single 1964, Atco 33-169 Ain't She Sweet 1964. CD: Polydor 823 701-2 Early Tapes 1985, Apple CDP 8 34445 2 Anthology 1 1995. [b1] mock stereo made from [a2] 1964, by Atlantic, USA. US: Atco SD 33-169 Ain't She Sweet 1964.

Atlantic's new mono master [b] is a mix of the original mono [a1] mix plus added drums. For reasons unknown, this [b] version went back to Polydor in Germany, and appeared years later on the standard CD release from Polydor Germany and then on Anthology 1 in 1995. Only a Japanese CD single (P1OP 30006) and album have it in stereo, and maybe they are using a tape sent there years ago. The stereo mix is easily identified, with John vocal left, rhythm guitar center, and lead guitar, bass and drums right. One r.m.b. reader reports the original German pressing of the CD under the title "The Beatles' First" does have the song in stereo.

Tony Sheridan TAKE OUT SOME INSURANCE ON ME


basic recording- 24 June 1961, Studio Rahlstedt, Hamburg additional recording- 1964, USA master tape- 2 track

[a] stereo 24 Jun 1961, Germany. Germany: Polydor 237 632 Beatles First 1964. UK: Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor 823 701-2 Early Tapes 1985. [a1] mono made from [a] 1964?, Germany. France: 21 965 (EP) 1964, 45 900 Les Beatles 1964.

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Germany: 52 317 single 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 52 317 single 1964. [b] mono based on [a1] 1964, by Atlantic, USA. edited. US: Atco 6302 single 1964, Atco 33-169 Ain't She Sweet 1964. [b1] mock stereo made from [b] 1964, by Atlantic, USA. US: Atco SD 33-169 Ain't She Sweet 1964.

Atlantic's mix [b] is an edit of [a1] and mixed with new guitar, drums and harmonica. The edit removes "some goddam" from the line near the end where Tony sings "ooh some goddam insurance on me baby". The title shown above is based on the earliest recording of the song, by Jimmy Reed. It was called "If you love me, baby" on the earliest Polydor pressings apparently because no one recognized the song, but changed after a short time to the almost correct "Take out some insurance on me, baby". Atco for some reason used "If you love me, baby".

The Beatles' Hamburg Recordings on Record


In the summer of 1961, the Beatles recorded eight songs for Bert Kaempfert Produktion in Hamburg. On six songs they were the backup band for Tony Sheridan, lead vocal and guitar. On two, "Cry for a shadow" and "Ain't she sweet", the Beatles performed alone. These recordings originally appeared on the Polydor label in Germany and the United Kingdom, and on various labels in the United States. Their discography has not been well documented, unlike that of the later EMI recordings, and this paper attempts to straighten out some problems. UPDATE: Since I wrote this piece, an excellent book appeared called The Beatles: From Cavern to Star-Club, by Hans Olof Gottfridsson (Premium Publishing, Sweden, 1997). If you are interested in the pre-EMI recordings this book is essential. He has reproduced much of the surviving documentation, and has interviews with important figures like Karl Hinze, the engineer at the 1961 sessions.

The "My Bonnie"/"The Saints" single of 1961.


Polydor issued two different singles of "My Bonnie"/"The Saints", both numbered 24 673. (The space in the record number is simply the German equivalent of writing 24,673; Germans use comma for a decimal point.) The artist is listed as Tony Sheridan and the Beat Brothers. One version is pictured in Gareth Pawlowsky's "How they became the Beatles" (1989), pages 38-39. The picture sleeve has the title as "My Bonnie" in large

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letters, front, and as "My Bonnie (Mein Herz ist bei dir nur)" on the back and on the record label. This is of course the mono mix with German introduction. The other version has the same sleeve except that near the lower left is a large box with the legend "TWIST", and the back and record label do not have the German parenthetical subtitle. This has the English language introduction. The disk, in a standard sleeve, is pictured on Robert York's web page. Just as the recording date has varied from the traditional May 1961, based on Tony Sheridan's recollection of Whit Monday, to the more recent report of June 22-24, based on a session document Mark Lewisohn has seen, the release date of the single has varied from May to October. "Mersey Beat" of 20 July 1961 has the article "Beatles Sign Recording Contract!". This article was inspired in part by the Beatles providing a copy of the record that they brought back with them from Germany. This must have been a test pressing, an idea supported by there being only two copies for four Beatles. Judging from the article, the slow intro was present, described as a waltz, and probably was the English language intro since no mention is made of it being in German. Following Brian Epstein's later story, Stu Sutcliffe, who stayed in Hamburg, sent copies of the single over to the Beatles, and perhaps it was only at this point, whenever it was, that they knew the record was available for sale. An undated letter from Paul to Peter Eckhorn also mentions Stu having sent the record. The legendary request for the record by Raymond Jones at NEMS, finally revealed as fiction in 1996, was dated at October 28, and perhaps that does at least suggest roughly the date Brian Epstein ordered it. Castleman and Podrazik's "All together now" (1975), the first comprehensive discography, lists June, but this is based probably on the May recording date they give. What makes June seem unlikely for the release date is the Beatles' contract with Bert Kaempfert Produktion, which started July 1 (as seen reproduced in Lewisohn, "Chronicle", page 33). While it is odd that the contract postdates the recording session, it is very hard to believe it postdates a record release. ATN also does not state which version of the song is referred to. German Beatles discographies, not so well known in the US, provide some more information. A vinyl discography, "The Beatles - Here, (There And Everywhere?)" by Mathias Wlaschek and Wilfried Pelz (1983), gives a date of October 23 for both singles. "Die Beatles: ihre Karriere, ihre Musik, ihre Erfolge", by Rainer Moers, Wolfgang Neumann and Hans Rombeck (1988), has the "Twist" English-intro single as June and the "Mein Herz" German-intro single as October, and states that the German intro was recorded separately around August. The notion of a special session for the German intro has not appeared in English-language sources. The German book "Mach Schau - Die Beatles in Hamburg", by Thomas Rehwagen and Thorsten Schmidt (1992), reports Bert Kaempfert's wife recalling that the record was out by the time one of her children was born on October 4, but she believes in a July or August date, which seems wrong.

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Mark Lewisohn remarks in "The Beatles Chronicle" (1992), page 33, that the single was issued in August. But at the time, the record factories actually closed for a couple of weeks in August, and it seems that the record would have been held until after that. In an earlier version of this article, I stated that the only reason to use the same catalog number would be to combine sales reports. But it now looks as if Polydor wished to fulfill later orders for the single with an alternate version.

The "My Bonnie" EP of 1961.


This record is bogus. The earliest report I can find is ATN, where it is listed as September 1961 without catalog number, the only record in the whole book without one. No source ever gives a picture of this one or a 1961 catalog number. While it appears in many discographies, no one seems to have seen a copy. Moers, who lists ATN as a source, lists it with number 21 610. But that is the catalog number of a July 1963 EP issued in the UK and Germany. Polydor had not yet reached EP number 21 610 in June 1963, confirmed by the numerical listings in the annual publication "Der Grosse deutsche Schallplatten Katalog 1964", compiled in June 1963, but they were close to it, confirming July 1963 as the original issue date for 21 610. No one has this 1961 EP. Some have 21 610 and think it is from 1961. It's unfortunate that the 1964 "Katalog" is the first ever issued-- if I could find a Polydor catalog from 1961, we could put this one behind us. Instead, we'll have to let its absence speak for itself. The day someone shows me a copy, I'll change my mind. A 1961 EP also defies logic. When Brian Epstein claims to have ordered the single from Germany, after October 28 1961, wouldn't it be odd that the sales agent at Polydor didn't ask whether he'd like some of this just recently released EP by the same artiste? Ray Coleman's "The man who made the Beatles" (1989) tells the story of Brian playing the single and asking people to ignore the singer and listen to the band. Why would he do that rather than play "Cry for a shadow" off the EP, with just the band, and their own composition as well? No, Brian clearly did not have the EP, or know about it. Does this make sense?

The "My Bonnie"/"The Saints" singles of 1962.


The single with English intro was issued in the UK in January 1962 as Polydor 66 833. At this time Polydor used a separate number series for the UK. The date of 5 January, as found everywhere, is in a Brian Epstein announcement written before the fact. In Lewisohn's "The Beatles Live!" (1986), an ad for 2 February (page 106) calls the Beatles "Polydor recording artists", while earlier ads, like that for 12 January (page 105) do not. Possibly the real date is a little later than 5 January, but that is about right.

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Brian Epstein credited his work the release of this single in England, supported by sales in Liverpool. The artiste is now Tony Sheridan and the Beatles, instead of the Beat Brothers, either Brian's influence, or simply the use of their proper name. (The problem originally was said to have been the similarity to "peedle", German slang for "piss".) The same single was issued in the US on Decca 31382, referencing the UK catalog number as "DGG 66833" on the label (Deutsche Grammophon Gesellschaft is the corporate parent of Polydor as EMI is to Parlophone). Note that Decca of the US is not related (except historically) to Decca of England, which is known as "British Decca" in the US industry. British Decca at the time was associated with London Records in the US.

The "My Bonnie" LP, 1962.


A Tony Sheridan LP called "My Bonnie" was issued in Germany in June, Polydor 46 612 mono and 237 112 stereo. This has the "Twist", English intro, version of the title song. The inclusion of only "My Bonnie" and "The Saints" tends to suggest nothing else from those sessions was up for consideration, not even Tony's own song "Why". The stereo LP is the first use of stereo mixes of the two songs, although lack of any known mono-stereo difference makes one wonder whether the mono is just combined. This could use study. The band are credited as the Beatles under these two song titles on the back cover, and confusingly the name Beat Brothers is now used for Tony's backing players on the other songs.

The "Ya Ya" EP, 1962.


"Sweet Georgia Brown" appears to be the third Beatles song to be released, first on this "Ya Ya" EP of October 1962, Polydor 21 485. Tony recorded the song twice: without the Beatles, probably in December 1961, and then with the Beatles, probably in April 1962. The April 1962 date is disputed by some experts but is supported by letters in Bert Kaempfert's files seen by Lewisohn and by a report in "Mersey Beat" of May 1962. It seems once again that the 1961 sessions had been put behind them, and only this newer recording was considered. This EP is of course the mono mix of the original vocal. Tony re-recorded the vocal in 1964 (see below) and that is what appears on later issues. This EP, while rare, is well known in the collectors' market, and is offered for sale (at high prices) regularly. Contrast the supposed "My Bonnie" EP of 1961 that no one ever sees.

The "My Bonnie" EP of 1963.


The July 1963 release of this record, Polydor 21 610, marks it as Polydor's first attempt to cash in on the newfound success of the Beatles in the UK. Someone went into the vaults at Polydor to see what they had, and they came up with two more songs for an EP. Even in Germany, this follows two singles and a May 1963 EP of Beatles recordings on EMI (Odeon label in Germany). 22

Why these two songs in particular? One could argue that "Why" is the best song in the lot, and "Cry for a shadow" may have been picked because it is a Beatles composition. The use of two public-domain songs and two written by the band is also mildly suspicious: are the publishing rights all in Polydor hands here? Did that make this a quick or cheap release? The nagging question is why the John Lennon vocal on "Ain't she sweet" didn't come out at this point. I recently heard in another context from a new fan asking which Beatle sang on which song, which seems so self-evident that I'd nearly forgotten a time when the voices were not so familiar. Can it possibly be that the Polydor staff assumed Sheridan sang all the songs *even after listening to them*?

Reissues of the Four Songs, 1964.


The new Polydor singles 52 273 and 52 275 are the familiar four songs: a reissue of "My Bonnie"/"The Saints", and a new single of "Cry for a shadow"/"Why" respectively. Several books have the English release as 28 February, and Moers gives the German date as 9 March. This presents no problem. "My Bonnie" here appears with no intro, as it does for two decades of releases afterwards. At this point, with those four songs, some sort of line was drawn. The four appeared on a compilation LP, "Let's do the Twist...", Polydor 46 422 mono and 237 622 stereo, probably April 1964, both Germany and England. This is the first appearance of the stereo mixes of "Cry for a shadow" and "Why". Somewhat similarly, MGM got the first four songs for US release. The same two singles were issued 27 January and 27 March respectively as per ATN, and the MGM album appeared in February. MGM got only the mono mixes: does this tell us the stereo mixes weren't prepared yet when the songs were shipped in probably late January, or just that no one cared?

Release of the Last Four, 1964.


Things moved fast, and within a month of the familiar four songs on singles, the other four songs appeared. Polydor 52 317 marked the first release of new material since July 1963, "Ain't she sweet"/"Take out some insurance". Moers has this as 8 April in Germany, and several books have it delayed to 29 May in England. Here they finally found the John Lennon vocal, although why it was held up almost two months in England is a mystery. Polydor 52 324, issued in Germany the same day per Moers, has the odd coupling "Skinny Minnie" (Tony without the Beatles)/"Sweet Georgia Brown" (Tony with the Beatles)-- although some people say "Skinny Minnie" is the Beatles, from the same April 1962 session as "Sweet Georgia Brown". This is supposed to be the new vocal on "Georgia", so if it is, Tony had recorded it by then, but it seems thrown away here. The

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sleeve, advertising the Beatles prominently on the B side, and the disk are pictured on Robert York's web page. The A side of the sleeve does not say "Beatles" but "Tony Sheridan and the Beat Brothers". A second "Georgia" single, using the last Beatles song, "Nobody's child", on the flip, was issued on Polydor 52 906. Many books list this single as January 1964, from ATN onward. The correct date is probably June. The catalog number alone should make this obvious. The English quarterly "The Gramophone" lists it as a new record in the September 1964 issue, which covers June to August. (I believe Polydor jumped numbers from possibly 52 399 to 52 900.) Mark Lewisohn dates the re-recorded Tony vocal as "early 1964" ("Chronicle", page 70), which means he's thrown out the January 1964 date too, but he doesn't give any more information than that. In the US, Atlantic jumped on the bandwagon and outbid or outmaneuvered MGM for the second four songs. They recoupled the songs for their Atco label as "Sweet Georgia Brown"/"Take out some insurance" on 1 June and then "Ain't she sweet"/"Nobody's child" on 6 July, using the dates in ATN. Their album was delayed until October, and once again, as with the MGM album, the stereo is fake. In this case, a possible reason is that all four songs had been subjected to overdubs (guitar and drums) and two songs to editing ("Take out some insurance" and "Nobody's child").

Album release, 1964.


The canonical album with all 8 songs was issued in Germany as "The Beatles' First", Polydor 46 432 mono and 237 632 stereo, probably in June 1964. Moers gives it as August, but it made it into "Der Grosse deutsche Schallplatten Katalog 1965" (June 1964), and the number is close to the "Let's do the twist..." album. This would mean the last single, 52 906, may have been a simultaneous release or nearly so. This album was not issued in England until July 1967. This remarkable fact becomes clear from a study of "The Gramophone", the quarterly of available records. Polydor 236 201, the English version, is stereo only, as a result of its late date. The July 1967 release is listed as a reissue in all books I have consulted. The German LP must have been available for sale as an import, but not in a way that got it listed in "The Gramophone", which does include some imports.

CD release.
All eight songs are on the Polydor CD "The Beatles' First", reissued as "The Early Tapes". For some reason "Ain't she sweet" is the mono mix as overdubbed by Atlantic, but the rest are in stereo. The other songs filling out the album are Tony Sheridan recordings made in 1961 and 1962. "Ain't she sweet" has been released in stereo on CD in Japan, perhaps from source tapes sent there years ago. Did Polydor Germany lose the masters, or, less drastically, did they

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file the Atlantic mono version someplace where staff keep pulling it as if it were the stereo master? The Apple CD set "Anthology 1" includes three of the songs but with mutilations. "My Bonnie" has talk over the English intro, and an edit where the stereo image reverses at the end of the intro. "Cry for a shadow" is intact but has stereo reversed. "Ain't she sweet" is again the mono version as overdubbed by Atlantic.

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1962
SEARCHIN' [audition tape]
basic recording- 1 January 1962, Decca Studios, London additional recording- none master tape- mono tape copy

[a] mono 1962 at Decca. edited 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

Crossfaded at the start with unrelated spoken word, and in that portion a tape loop of the instrumental introduction has been edited in. This and the next four are from a tape believed to be the Decca audition of 1 January 1962. The only known source of this material is a mono tape compilation that was first used to create a series of seven bootleg singles on the Deccagone label in 1977. The canonical set of all 15 songs was the bootleg LP The Decca Tapes in 1978, and this was followed in the 1980's by questionably legal releases, usually omitting the three LennonMcCartney songs, and all directly or indirectly from that same source tape. In "The 910" vol 2 no 3 (1993), Doug Sulpy and Greg Panfiles reported the tape appeared to be offspeed, enough to raise the songs a full halfstep in pitch. The speed correction was done for subsequent bootleg CDs, and also has been done, at a slightyl different ratio, for the Anthology, which presumably continues to rely on the same source used since 1977. But where does that come from? Probably Brian Epstein took a copy of the session tape, and although he is supposed to have had a sample reel before the Decca date, this was probably better recorded, and it may have been songs from this set that he brought to George Martin at Parlophone. The Beatles had a tape with some of these songs with them in their Spring 1962 Hamburg trip. The identification of this tape with the Decca audition is less than perfect, and the best argument may be that they had no other opportunity to record 15 songs this cleanly. The tape's legal status also remains murky: the Beatles were still under exclusive contract to Bert Kaempfert Produktion in January 1962 (dating from the Hamburg recordings of 1961). On the Anthology, Apple claims ownership.

26

THREE COOL CATS [audition tape]


basic recording- 1 January 1962, Decca Studios, London additional recording- none master tape- mono tape copy

[a] mono 1962 at Decca. CD: Apple CDP 8 34445 2 Anthology 1 1995.

THE SHEIK OF ARABY [audition tape]


basic recording- 1 January 1962, Decca Studios, London additional recording- none master tape- mono tape copy

[a] mono 1962 at Decca. CD: Apple CDP 8 34445 2 Anthology 1 1995.

The interjected "Not half!" or "Nah-ah!" almost sounds like it is edited into place.

LIKE DREAMERS DO [audition tape]


basic recording- 1 January 1962, Decca Studios, London additional recording- none master tape- mono tape copy

[a] mono 1962 at Decca. CD: Apple CDP 8 34445 2 Anthology 1 1995.

HELLO LITTLE GIRL [audition tape]


basic recording- 1 January 1962, Decca Studios, London additional recording- none master tape- mono tape copy

[a] mono 1962 at Decca. CD: Apple CDP 8 34445 2 Anthology 1 1995.

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Tony Sheridan SWEET GEORGIA BROWN


basic recording- 24 May 1962, Studio Rahlstedt, Hamburg additional recording- 7 Jun 1962, 3 Jan 1964, Studio Rahlstedt, Hamburg, and 1964, USA master tape- 2 track 2d generation?

[a] stereo and mock stereo 1962, Germany. Sweden: Polydor PRE 240 003 (EP) 1997. [a1] mono made from [a] 1962, Germany. Germany: Polydor 21 485 (EP) Ya Ya 1962. [b] stereo and mock stereo 1964?, Germany. Germany: Polydor 237 632 Beatles First 1964. UK: Polydor 236 201 Beatles First 1967. US: Polydor 244 504 Circa 1960 In the Beginning 1970. CD: Polydor CD 823 701-2 Beatles First 1985. [b1] mono made from [b] 1964, Germany. France: Polydor 21 965 (EP) 1964, Polydor 45 900 Les Beatles 1964. Germany: Polydor 52 906 single 1964, Polydor 46 432 Beatles First 1964. UK: Polydor 52 906 single 1964. [c] mono based on [b] 1964, by Atlantic, USA. US: Atco 6302 single 1964, Atco 33-169 Ain't She Sweet 1964. [c1] mock stereo made from [c] 1964, by Atlantic, USA. US: Atco SD 33-169 Ain't She Sweet 1964.

The date of this recording was finally documented in Hans Olof Gottfridsson's 1997 book The Beatles: from Hamburg to Star-Club, although Mark Lewisohn had previously at least been close, April 1962, contradicting the usual theory that it was from 1961 like the other Tony Sheridan recordings. Roy Young plays piano and the arrangement is by Paul. The instrumental track, including Beatles backing vocals, was recorded May 24 to 2-track in a live mix, and Tony added the lead vocal June 7 as a second generation tape. In 1964, Tony did a second lead vocal, with words mentioning the Beatles. Only the stereo mix [a], available on an EP included with Gottfridsson's book, and the mono reduction [a1] issued on one German EP in 1962, uses the 1962 lead vocal with the song's correct lyrics. The much more common [b] and its reduction [b1], using the new lead vocal recorded in 1964, first appeared on German single 52 324 of April 1964, Skinny Minnie by Tony Sheridan (the A side is not the Beatles). It then appeared again on German single 52 906, often dated January 1964 but really about June 1964 based on "The Gramophone" and the catalog number, again coupled with a non-Beatles number, a Tony Sheridan solo re-make of "Nobody's child" (which he had recorded previously with the Beatles in 1961).

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Both stereo mixes [a] [b] mysteriously go into mock stereo for the "vamp" at the end of the song. This presumably shows an edit in the May 24 instrumental track done by June 7. Given the live mix, maybe the stereo image was different on the take used for the ending and they made it less jarring by processing it? No one knows. Atlantic's [c] is was made from [b1] with added drums and guitar. Complicating the release history is that Tony had previously recorded the song on Dec 21 1961, and this 1961 version was used on the My Bonnie LP. The LP was released in June 1962, just after he'd done the vocal for the Beatles version! The non-Beatles recording has no backup vocals, among other differences.

BESAME MUCHO [outtake]


basic recording- 6 Jun 1962 additional recording- none? master tape- twintrack [no longer exists]

[a] mono 6 Jun 1962. edited Jul 1984 at AIR Studios, Montserrat. CD: Apple CDP 8 34445 2 Anthology 1 1995.

A copy of this otherwise lost recording was found on a private reel in late 1983 or early 1984, probably in a mono mix made in 1962. It was not used for the Abbey Road Studios show in July 1983, but was in the lineup for the Sessions LP in August 1984. The last line going into the fade seems to be a repeat of the previous line, edited in, probably done for Sessions.

LOVE ME DO [outtake]
basic recording- 6 Jun 1962 additional recording- none? master tape- twintrack [no longer exists]

[a] mono 6 Jun 1962. CD: Apple CDP 8 34445 2 Anthology 1 1995.

The Anthology notes say a copy of this otherwise lost recording was found on a private reel in 1994, and another insider report identifies the source as a disk found in George Martin's home.

29

HOW DO YOU DO IT [outtake]


basic recording- 4 Sep 1962 additional recording- none? master tape- twintrack [no longer exists]

[a] mono 4 Sep 1962. edited Jul 1984 at AIR Studios, Montserrat. CD: Apple CDP 8 34445 2 Anthology 1 1995.

Bootlegged as early as 1973, this song appeared in the album of outtakes reported in 1981, the Abbey Road show in 1983, and the Sessions LP planned for 1984. However, as is evident from a comparison of the older sources, it was edited in 1984 to change the first "wish I knew how you do it to me, I'd do it to you" at the end to "wish I knew how you do it to me, but I haven't a clue" copied from earlier in the song-- a pointless exercise.

LOVE ME DO [1]
basic recording- 4 Sep 1962 additional recording- 4 Sep 1962 master tape- twintrack 2d generation [no longer exists]

[a] mono 4 Sep 1962. UK: Parlophone R4949 single first issue 1962. Canada: Capitol 72076 single 1962. [a1] mono copy from vinyl disk, 1980. UK: Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol SHAL-12060 Rarities 1980. [a2] mono copy from vinyl disk, 1982. CD: EMI CDP 7 90044 2 Past Masters 1 1988.

Ringo drumming, no tambourine (see Love Me Do [2]). EMI practice at this time was not to keep the session master once mixing was complete, and in this case the mono mix master tape [a] was lost by the end of 1962 and replaced by Love Me Do [2] on all further releases. The vinyl transfer [a1] on Capitol's Rarities is from a slightly noisy 45rpm copy owned by EMI and sent to Capitol intended as a reference but used as the best available copy. In 1982 a better 45rpm vinyl copy was made available to EMI by a collector just after EMI issued Love Me Do [2] on the twentieth anniversary single (because they were unhappy with the quality of Love Me Do [1], which should have been used for authenticity). The master [a2] made from this disk immediately became the standard and has been used ever since, most easily available on Past Masters. Oddly considering its generally better

30

quality, [a2] has a little distortion noticeable on harmonica not heard on [a1], apparently caused during "declicking", so a further improved copy may be made someday.

P.S. I LOVE YOU


basic recording- 11 Sep 1962 additional recording- none master tape- twintrack 2d generation [no longer exists]

[a] mono 4 Sep 1962. UK: Parlophone R4949 single 1962, Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing first issue 1963, Tollie 9008 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988. [a1] mock stereo made from [a] 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing first issue 1963, Capitol ST 2309 The Early 1965. [a2] mono made from [a1] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

LOVE ME DO [2]
basic recording- 11 Sep 1962 additional recording- 11 Sep 1962 master tape- twintrack 2d generation [no longer exists]

[a] mono 11 Sep 1962. UK: Parlophone R4949 single after first issue, Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing first issue 1963, Tollie 9008 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. [a1] mock stereo made from [a] 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963, Apple PCSP 717 The Beatles 1962-1966 1973. US: Vee Jay VJSR 1062 Introducing first issue 1963, Capitol ST 2309 The Early 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [a2] mono made from [a1] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

31

Ringo on tambourine (see Love Me Do [1]). This was the "common" version until Past Masters 1 made the other version also easily available. George Martin does not recall substituting one version for another so it may have happened by error.

PLEASE PLEASE ME [outtake]


basic recording- 11 Sep 1962 additional recording- none master tape- twintrack [no longer exists]

[a] mono 11 Sep 1962. CD: Apple CDP 8 34445 2 Anthology 1 1995.

No harmonica, and apparently Andy White drumming as on the other songs of this day. Like the Love Me Do outtake, this copy of an otherwise lost recording was found in 1994- perhaps another disk George Martin took home? After this point, EMI started keeping master recording tapes by the Beatles.

PLEASE PLEASE ME [1]


basic recording- 26 Nov 1962 additional recording- 26 Nov 1962 master tape- twintrack 2d generation

[a] mono 26 Nov 1962. edited. UK: Parlophone R4983 single 1963, Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJ 498 single 1963, Vee Jay VJLP 1062 Introducing second issue 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The five sections of harmonica are overdubs. Although it could have been done by recording harmonica into a complete second generation tape, Lewisohn, in Recording Sessions, refers to "harmonica edit pieces", and it sounds like there is an edit before the last of them. They were certainly used as edit pieces for Please Please Me [2]-- see below.

32

PLEASE PLEASE ME [2]


basic recording- 26 Nov 1962 additional recording- 26 Nov 1962 master tape- twintrack 2d generation

[a] stereo 25 Feb 1963. edited. UK: Parlophone PCS 3042 Please Please Me 1963, Apple PCSP 717 The Beatles 1962-1966 1973. US: Vee Jay VJSR 1062 Introducing second issue 1963. [a1] stereo remixed from [a] 1965, by Capitol. US: Capitol ST 2309 The Early 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [a2] mono made from [a] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

Please Please Me [1] and [2] were made from different takes, although the five sections of harmonica are the same on both. The harmonica overdubbing was only done once. The stereo version [2] has the famous collision in verse 3 on "You know you never even try"/"Why do I never even try", followed by the laugh on "Come on come on". Some have explained this difference by saying the mistake was repaired for [1] by editing in a replacement for just this section. However, the two versions have differences all the way through, so they must be two different complete takes. For example, in verse 1, compare the sound of the word "try" in the second line, and in the bridge, compare "reason with you, oh yeah" in stereo [2] against "reason with you, whoa oh yeah" in mono [1]. John's voice is rougher all the way through the mono take [1]. In stereo, the harmonica appears in the right channel, the same as the vocal. During the first 4 segments, which occur between vocal lines, the bass guitar sound also comes way up on the right, and the whole ambience changes much more than in mono. During the last segment, which overlays vocals, the harmonica is less audible than in the mono mix, which is puzzling. Lewisohn reports in Recording Sessions that the mono mix was from "unknown takes", meaning he saw no studio documentation for takes. The easiest explanation is to suppose that the mixing information was already missing in February 1963 and that it led to the staff accidentally editing the pieces into the wrong take when they did the stereo mix, three months after the mono. The changes in ambience therefore are the difference between two takes. David Prokopy on r.m.b. has proposed that a tape reel was lost, so that the harmonica survived only on the mono mix itself, and that therefore the stereo mix was made by synchronizing the mono mix with an alternate take. This explains why the first 4 segments don't have just the harmonica by itself on the right, but have bass and some of 33

the other sound as well (i.e. the right channel is a processed version of the mono mix), and why the last harmonica segment is at lower volume, namely to hide that it doesn't really match. The last particularly would mean they were deliberately using a different take for want of the correct one.

ASK ME WHY
basic recording- 26 Nov 1962 additional recording- none master tape- twintrack

[a] mono 26 Nov 1962. UK: Parlophone R4983 single 1963. US: Vee Jay VJ 498 single 1963. [b] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing second issue 1963, Vee Jay VJ 581 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988. [c] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing second issue 1963. [c1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [c2] mono made from [c] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

There is no known difference between the two mono mixes. The Vee Jay single is early enough that it must be the older mix. I assume blindly that the later mix is the one used for all subsequent appearances including the CD single, but possibly the CD single uses the older mix.

[ Star-Club performances ]
basic recording- dates in Dec 1962, Star-Club, Hamburg additional recording- none master tape- mono Excerpts of this tape collection of at least 30 songs have been issued many times. There have been several attempts to electronically alter the sound to improve the abysmal sound quality of the original tape and to deal with missing parts of a few songs. Further edits have rearranged the song order, allowing different parts of the between-song sound to

34

survive. One of the four sets, unprocessed and sounding not much worse, has appeared on a bootleg called The Beatles Vs the Third Reich. The Beatles were under exclusive recording contract to EMI as of June 1962, and this material was first released under the ruse that it was recorded during the Beatles' Star-Club shows in April (when, though it is not well known, they were signed exclusively to Bert Kaempfert!). However, Paul wishes the crowd "seasonal greetings" and John mentions that "Christmas comes but once a year". All releases are essentially bootlegs. The book Every Little Thing goes over the releases and differences, and Gottfridsson's From Cavern to Star-club includes further information on the original arrangement on four tapes.

35

1963
[ BBC radio, Saturday Club of 26 Jan 1963 ]
basic recording- 22 Jan 1963 at Playhouse Theatre additional recording- none master tape- mono

segment, Keep Your Hands off My Baby [a] mono 1994. edited. CD: EMI CDP 8 31796 2 Live at the BBC 1994. The source, probably taped off AM radio, cuts in just as the vocal starts, and the instrumental intro as heard on Live at the BBC was built from samples of other portions of the song. But did the song really have an intro? Little Eva's original doesn't.

THERE'S A PLACE
basic recording- 11 Feb 1963 additional recording- 11 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963, Tollie 9001 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] ?1980, by Capitol. US: Capitol SHAL-12060 Rarities 1980, Capitol B5624 single 1986.

The remix [b1] has the left, instrumental channel relatively louder.

36

I SAW HER STANDING THERE


basic recording- 11 Feb 1963 additional recording- 11 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. edited. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. edited. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol 5112 single 1964, Capitol T 2047 Meet the Beatles 1964. [b3] stereo remixed from [b] 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976.

The countdown is edited in from another take (see next entry). The original stereo [b] has a drop in volume in verse 3 near "we danced through the night" which is corrected in the remix [b3], which also has the two tracks brought slightly to center. On the Vee Jay albums the "1 2 3" is cut off on both [a] and [b], as if the countdown were extra material to be trimmed, although the "4" remains. Does this mean Vee Jay's entire mono LP is just a reduction of the stereo mixes, or did they just do the same trim twice? But their mono mix does not have the volume drop characteristic of the stereo mix (see above).

I SAW HER STANDING THERE [outtake]


basic recording- 11 Feb 1963 additional recording- none master tape- twintrack

[a] stereo 1995. CD: Apple C2 8 58497 Free as a Bird 1995.

37

This is the take from which the countdown was taken for the standard version, with reverb added for Anthology 2. The appearance of a stereo mix from twintrack was a surprise in 1995 considering statements from Apple against issuing such mixes, but maybe this is different because it's an outtake?

A TASTE OF HONEY
basic recording- 11 Feb 1963 additional recording- 11 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

DO YOU WANT TO KNOW A SECRET


basic recording- 11 Feb 1963 additional recording- 11 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963, Vee Jay VJ 587 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

38

MISERY
basic recording- 11 Feb 1963 additional recording- 20 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. edited. UK: Parlophone PMC 1202 Please Please Me 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] mono 25 Feb 1963. US: Vee Jay VJLP 1062 Introducing 1963. [c] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [c1] stereo remixed from [c] ?1980, by Capitol. US: Capitol SHAL-12060 Rarities 1980.

The instrumental intro is shorter in [a] than the others, edited. Whether Vee Jay uses [b] or is just a mono reduction of [c] seems impossible to determine by listening, since an unedited mono mix would sound the same. It's been suggested that the entire Vee Jay LP is a mono reduction of the stereo mixes (except that the real mono "Please please me" was used for the reissue version of the LP), and it is hard to rule this out, although it's also hard to say why Vee Jay would not have been sent both mono and stereo masters. In the remix [c1] the left instrumental channel is relatively louder, which isn't bad, but reverb has been added too especially in the intro vocal.

ANNA
basic recording- 11 Feb 1963 additional recording- none master tape- twintrack

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963.

39

[b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

BOYS
basic recording- 11 Feb 1963 additional recording- none master tape- twintrack

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965. [b3] stereo remixed from [b] 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976.

CHAINS
basic recording- 11 Feb 1963 additional recording- none master tape- twintrack

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965.

40

[b2] mono made from [b] 1965, by Capitol. UK: Capitol T 2309 The Early 1965.

BABY, IT'S YOU


basic recording- 11 Feb 1963 additional recording- 20 Feb 1963 master tape- twintrack 2d generation

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965.

TWIST AND SHOUT


basic recording- 11 Feb 1963 additional recording- none master tape- twintrack

[a] mono 25 Feb 1963. UK: Parlophone PMC 1202 Please Please Me 1963. US: Vee Jay VJLP 1062 Introducing 1963, Tollie 9001 single 1964. CD: EMI CDP 7 46435 2 Please Please Me 1987. [b] stereo 25 Feb 1963. UK: Parlophone PCS 3042 Please Please Me 1963. US: Vee Jay VJSR 1062 Introducing 1963. [b1] stereo remixed from [b] 1965, by Capitol. US: Capitol ST 2309 The Early 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol T 2309 The Early 1965. [b3] stereo remixed from [b] 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976.

41

[b4] stereo remixed from [b] ?1986. US: Capitol B5624 single 1986.

The remix [b3] has the two tracks moved slightly to center. A second remix [b4], 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.

FROM ME TO YOU
basic recording- 5 Mar 1963 additional recording- 5 Mar 1963 master tape- twintrack 2d generation

[a] mono 14 Mar 1963. edited. UK: Parlophone R5015 single 1963, Parlophone PMC 7016 Collection of Oldies 1966. US: Vee Jay VJ 522 single 1963, Vee Jay VJ 581 single 1964, Vee Jay VJLP 1085 and VJSR 1085 The Beatles and Frank Ifield on Stage 1963. CD: EMI CDP 7 90044 2 Past Masters 1 1988, EMI single 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. [b] stereo 14 Mar 1963. edited. Germany: Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965, Odeon STO 73 692 (later 1C 062-04 363) Beatles Beat 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. Australia: Parlophone PCSO 7533 Greatest Hits 1 1966. US: Apple SKBO-3403 The Beatles 1962-1966 1973.

The new sound added while making "track 2", the second generation-- the vocal in the intro and all the harmonica-- was mixed into both tracks, so it sounds centered when heard in stereo [b]. In fact the master tape of take 8, which is the second generation tape composed of the sound from take 7 plus live sound, appears virtually unmixed as [b]. The mono mix [a] also has a harmonica added during the intro, which is quite interesting since the session tapes as heard on bootlegs do not reveal any such edit piece. From available evidence it appears that the mono mix's intro must have been made by synchronizing two source tapes, not too hard since it is right at the beginning of the song and is quite short. No tape has the harmonica alone, so it would be a section of the instrumental verse that was used. Note slight "phasing" in the drum sound by the end of the intro, in [a], as the synchronization slips. Capitol missed this song somehow so the Vee Jay issues were the only US release until 1973. Vee Jay did not have the stereo mix and used the mono version on the stereo LP VJSR 1085 (Thank You Girl is also mono there).

42

THANK YOU GIRL


basic recording- 5 Mar 1963 additional recording- 5,13 Mar 1963 master tape- twintrack 2d generation

[a] mono 13 Mar 1963. edited. UK: Parlophone R5015 single 1963, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Vee Jay VJ 522 single 1963, Vee Jay VJ 587 single 1964, Vee Jay VJLP 1085 and VJSR 1085 The Beatles and Frank Ifield on Stage 1963. CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI single 1988. [b] stereo 13 Mar 1963. edited. US: Capitol ST 2080 Second 1964. Germany: Odeon STO 73 692 (later 1C 062-04 363) Beatles Beat 1966. [b1] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second 1964.

Stereo [b] has harmonica edit pieces in the middle and at the end that were not used for mono [a], and has more echo. Unlike From Me to You, the harmonica was mixed into only the vocal track. Vee Jay had some problem with [a]; it runs a little slow on the single, and a little fast on the LP. The stereo mix has a lot of echo on it, which was probably an addition by Capitol, but we don't have a definite non-Capitol source to compare to. Odeon (Germany) got some material from Capitol, and their stereo "Thank you girl" may be Capitol's processed version.

ONE AFTER 909 [outtakes]


basic recording- 5 Mar 1963 additional recording- 5 Mar 1963 master tape- twintrack

excerpts of takes 3, 4, 5 [a] mono 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995. As edited and mixed for Anthology: Take 3 fades up, breaks down, and ends with the spoken words "want them" (as it also does on a bootleg of this day's tapes).

43

Take 4 fades up, breaks down, and ends with the words "wasn't", "it was", and a guitar strum. Take 5 starts just after the "take 5" announcement (as heard on bootleg), with the words "it must be", and strangely, the strum from the end of 4 is made to repeat over those words, merging the two to sound as if they ran continuously. Take 5 then fades out, ending the Anthology mix.

edit of takes 4 and 5 [a] mono 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995. Take 4 to near the end of the solo, edited to take 5.

The first item listed above was compiled to show where the song broke down during two attempts at recording the whole song, and then shows the startup of a take that begins in mid-song and runs to the end. The second item fulfills the original plan by using that edit piece to make a complete version of the song. This recording was listed for an album of unreleased tracks in 1981, appeared in the Abbey Road studios show in 1983, and was to be on Sessions in 1984. The Sessions edit made in 1984 cuts to take 5 at the start of the solo, while this edit uses take 4 for most of the solo. The song was first bootlegged in 1984 on File Under Beatles, where it appears in yet another edit. All these takes have been bootlegged in full in stereo.

[ BBC radio, Side by Side of 24 Jun 1963 ]


basic recording- 4 Apr 1963 at BBC Paris Studio additional recording- none master tape- mono

segment, I'll Be on My Way [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 18 Jun 1963 ]


basic recording- 1 Jun 1963 at BBC Paris Studio additional recording- none master tape- mono

44

segment, Sure to Fall [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 11 Jun 1963 ]


basic recording- 1 Jun 1963 at BBC Paris Studio additional recording- none master tape- mono

segment, Love These Goon Shows! (talk) / I Got to Find My Baby [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Young Blood [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Sha La La La La! (talk) / Baby It's You [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start. It begins in mid-sentence evidently as in the source.

segment, Baby It's You [a] mono 1994. CD: EMI C2 8 58349 2 Baby It's You 1995. Part of the segment listed just above.

[ BBC radio, Pop Go the Beatles of 25 Jun 1963 ]


basic recording- 17 Jun 1963 at Maida Vale Studios additional recording- none master tape- mono

45

segment, Boys [a] mono 1994. CD: EMI C2 8 58349 2 Baby It's You 1995.

[ BBC radio, Easy Beat of 23 Jun 1963 ]


basic recording- 19 Jun 1963 at Playhouse Theatre additional recording- none master tape- mono

segment, Some Other Guy [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at end, applause.

segment, Thank You Girl [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start and end, applause.

Recorded before an audience.

SHE LOVES YOU


basic recording- 1 Jul 1963 additional recording- 1 Jul 1963 master tape- twintrack 2d generation [lost]

[a] mono 4 Jul 1963. edited. UK: Parlophone R5055 single 1963, Parlophone PMC 7016 Collection of Oldies 1966. US: Swan 4152 single 1963. CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI single 1988. [a1] mock stereo made from [a] 1964, by Capitol. US: Capitol ST 2080 Second 1964. Germany: Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965, Odeon STO 73 692 (later 1C 062-04 363) Beatles Beat 1966.

46

[a2] mono made from [a] 1964, by Capitol. US: Capitol T 2080 Second 1964. [a3] mock stereo made from [a] 8 Nov 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. [a4] mock stereo made from [a] 1973, by Capitol. US: Apple SKBO-3403 The Beatles 1962-1966 1973. [a5] mono made from [a] 1992. CD: EMI C2 15852 (EP box set) 1992, EMI CDP 7 97036 2 The Beatles 19621966 1993.

Additional mock stereo mixes have appeared. The master tape of this and I'll Get You is officially lost, but some say it was stolen in 1963 and still exists. There is at least one edit: in verse 3, "pride can hurt you too, apologize to her" is obviously cut in from an edit piece or another take; and some listeners hear several other edits as well. The edits became much more noticeable in the first CD appearance in 1988, which seems to reproduce the mono mix "too well"-- that is, masters made for earlier releases all treated the song with echo or tone rebalance, not to mention mock stereo, which partly hid its problems. The sonic restoration by Peter Mew [a5], made originally for the EP set in 1992, sounds much better than [a].

I'LL GET YOU


basic recording- 1 Jul 1963 additional recording- 1 Jul 1963 master tape- twintrack 2d generation [lost]

[a] mono 4 Jul 1963. edited. UK: Parlophone R5055 single 1963, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Swan 4152 single 1963, Swan 4182 single 1964. CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI single 1988. [a1] mock stereo made from [a] 1964, by Capitol. US: Capitol ST 2080 Second 1964. Germany: Odeon STO 73-692 (later 1C 062-04 363) Beatles Beat 1966. [a2] mono made from [a] 1964, by Capitol. US: Capitol T 2080 Second 1964.

The harmonica is an overdub so it must be a 2d generation tape (at least).

47

[ BBC radio, Pop Go the Beatles of 16 Jul 1963 ]


basic recording- 2 Jul 1963 at Maida Vale Studios additional recording- none master tape- mono

segment, That's All Right Mama [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Carol [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Soldier of Love [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. [a1] mono 1994. edited. LP: EMI C1 8 31796 1 Live at the BBC 1994. Crossfaded at end on the CD but not on the LP, where it comes at the end of a side.

segment, Lend Me Your Comb [a] mono 1995. CD: CD: Apple CDP 8 34445 2 Anthology 1 1995. Deliberately held off the BBC set so it would be new on the Anthology.

segment, A Little Rhyme (talk) / Clarabella [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. [a1] mono 1994. LP: EMI C1 8 31796 1 Live at the BBC 1994. Crossfaded at start on the CD but not on the LP, where it comes at the beginning of a side.

48

[ BBC radio, Pop Go the Beatles of 23 Jul 1963 ]


basic recording- 10 Jul 1963 at Aeolian Hall additional recording- none master tape- mono

segment, Sweet Little Sixteen [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, A Taste of Honey [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Nothin' Shakin' [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Love Me Do [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, 1822! (talk) / Lonesome Tears in My Eyes [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, So How Come [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 30 Jul 1963 ]


basic recording- 10 Jul 1963 at Aeolian Hall additional recording- none master tape- mono

49

segment, Memphis [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at end.

segment, Set Fire to That Lot! (talk) / Matchbox [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, The Hippy Hippy Shake [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 6 Aug 1963 ]


basic recording- 16 Jul 1963 at BBC Paris Studio additional recording- none master tape- mono

segment, I'm Gonna Sit Right Down and Cry [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Crying, Waiting, Hoping [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at end.

segment, Kansas City/Hey Hey Hey Hey [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, To Know Her is to Love Her [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. 50

segment, The Honeymoon Song [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start, applause.

[ BBC radio, Pop Go the Beatles of 13 Aug 1963 ]


basic recording- 16 Jul 1963 at BBC Paris Studio additional recording- none master tape- mono

segment, Long Tall Sally [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start.

segment, I Got a Woman [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 20 Aug 1963 ]


basic recording- 16 Jul 1963 at Aeolian Hall additional recording- none master tape- mono

segment, Glad All Over [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, I Just Don't Understand [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

51

segment, Devil in Her Heart [a] mono 1994. CD: EMI C2 8 58349 2 Baby It's You 1995.

segment, Slow Down [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

YOU REALLY GOT A HOLD ON ME


basic recording- 18 Jul 1963 additional recording- 18 Jul 1963 master tape- twintrack 2d generation

[a] mono 21 Aug 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b2] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second.

In mono [a], the instrumental track is mixed relatively quiet until the line "oh ho ho you treat me badly", when it comes up to a more normal level; in stereo [b] it starts at normal level and remains.

MONEY
basic recording- 18 Jul 1963 additional recording- 18 Jul, 30 Sep 1963 master tape- twintrack 2d(?) generation

[a] mono 21 Aug 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 30 Oct 1963. edited. UK: Parlophone PCS 3045 With the Beatles 1963.

52

[b1] stereo remixed from [b] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b2] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second 1964.

This recording is not well described by Lewisohn, but see his Chronicle for the July 18 session sheet and his Recording Sessions for the July 30 session sheet. The mono and stereo each have sound not heard in the other, indicating two final-generation tapes made from a common earlier generation. The piano intro appears to be the same on both mixes, but with tapping in [a]. The other differences are the raspy guitar sound in mono [a] and the more prominent piano sound throughout in stereo [b]. Lewisohn reports that the mono [a] was made by editing take 6 (called "edit (piano)" on the session sheet) and take 7 (called "complete"), both July 18, while [b] was made from take 7 possibly including unnumbered piano overdubs made Sept 30. That the tapping intro is take 6, used only in mono [a], and that the louder piano all the way through is the Sept 30 work used only in stereo [b], makes sense but does not explain all. How is the guitar louder in mono [a]? Both takes 6 and 7 are marked "track 2", i.e. second generation. It could be the second generation of take 6 added the tapping; we don't know what was added for take 7. (No use of the July 30 session's "track 3" is reported, when more piano intro was recorded. Even use of the Sept 30 overdubs is implied but not actually stated.) The most difficult question is how the stereo [b] happens to have the vocal and handclap track mixed center, resulting in a true stereo mix without the hole in the center. The only other twin-track recording with anything mixed equally into both channels is the harmonica overdubs in From Me to You, done sound-on-sound as an overdub. Lewisohn says Money is two separate mono mixes on two tapes. Other reports in his book and George Martin's indicate they had no way to synchronize two tapes reliably for more than few seconds at a time until 1967, making it seem incredible that Money could be two tapes, and yet, why did it take 3 hours to mix this one song to stereo on Oct 30, if it was just a twintrack source? Was it perhaps synchronized in short sections that were then edited together? Capitol's ST 2080 has heavyhanded "mixing" on all tracks, and this song, rebalanced like the rest of the album, ends up with the vocal off-center.

DEVIL IN HER HEART


basic recording- 18 Jul 1963 additional recording- 18 Jul 1963 master tape- twintrack 2d generation

53

[a] mono 21 Aug 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b2] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second 1964.

PLEASE MR POSTMAN
basic recording- 30 Jul 1963 additional recording- 30 Jul 1963 master tape- twintrack 2d generation

[a] mono 21 Aug 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b2] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second 1964.

[ BBC radio, Saturday Club of 24 Aug 1963 ]


basic recording- 30 Jul 1963 at Playhouse Theatre additional recording- none master tape- mono

segment, Dear Wack! (talk) / You Really Got a Hold on Me [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start.

54

TILL THERE WAS YOU


basic recording- 30 Jul 1963 additional recording- none master tape- twintrack

[a] mono 21 Aug 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

ROLL OVER BEETHOVEN


basic recording- 30 Jul 1963 additional recording- 30 Jul 1963 master tape- twintrack 2d generation

[a] mono 21 Aug 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. edited. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b2] mono made from [b] 1964, by Capitol. US: Capitol T 2080 Second 1964. [b3] stereo remixed from [b] 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976.

The edit is for the ending.

IT WON'T BE LONG
basic recording- 30 Jul 1963 additional recording- 30 Jul 1963 master tape- twintrack 2d generation

55

[a] mono 21 Aug 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. edited. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

The edit seems to be the last line; the word "belong" sounds shorter in [a] as if it is done differently. On the other hand, a bootleg called "Garage Tapes" has an unidentified take where about only about the first half the song seems to match the finished version.

ALL MY LOVING
basic recording- 30 Jul 1963 additional recording- 30 Jul 1963 master tape- twintrack 2d generation

[a] mono 21 Aug 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963, Apple PCSP 717 The Beatles 1962-1966 1973. [b1] stereo, untrimmed. Germany: Odeon STO 83 568 With the Beatles 1963, Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965. Holland: Odeon OMHS 3001 Beatles Greatest 1967. [b2] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964, Apple SKBO-3403 The Beatles 1962-1966 1973. [b3] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964. [b4] mono probably from [b1] 1963, by Odeon (Germany). Germany: Odeon O 22 681 single 1963, probably Odeon O 83 568 With the Beatles 1963, probably Odeon O 83 991 Beatles Greatest 1965. [c] stereo 1993 CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The untrimmed stereo [b1] opens with 5 taps on a hi-hat, left, and then an intake of breath, right. The untrimmed mono [b4] is probably combined from [b1], unless we suppose there was also an untrimmed version of [a].

56

The CD remix [c] has the vocal track centered, leaving nothing far right. A US CD of rarities issued by Westwood One in 1993 allegedly for radio stations has a forgery of the untrimmed [b1] made by joining a tape copy of a record of [b1] to a cleaner copy of [b]. The stereo image is reversed in one of them, and the intake of breath is missing.

[ BBC radio, Pop Go the Beatles of 27 Aug 1963 ]


basic recording- 1 Aug 1963 at Playhouse Theatre, Manchester additional recording- none master tape- mono

segment, Ooh! My Soul / Ooh! My Arms (talk) / Don't Ever Change [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. This is the only segment extracted for Live at the BBC that runs continuously from a song to talk to the next song as in the original radio show.

segment, A Shot of Rhythm and Blues [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Pop Go the Beatles of 3 Sep 1963 ]


basic recording- 1 Aug 1963 at Playhouse Theatre, Manchester additional recording- none master tape- mono

segment, Honey Don't [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

57

[ BBC radio, Pop Go the Beatles of 10 Sep 1963 ]


basic recording- 3 Sep 1963 at Aeolian Hall additional recording- none master tape- mono

segment, Too Much Monkey Business [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Saturday Club of 5 Oct 1963 ]


basic recording- 7 Sep 1963 at Playhouse Theatre additional recording- none master tape- mono

segment, Lucille [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. This has an original voiceover at the start.

ALL I'VE GOT TO DO


basic recording- 11 Sep 1963 additional recording- 11 Sep 1963 master tape- twintrack 2d generation

[a] mono 30 Sep 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

58

NOT A SECOND TIME


basic recording- 11 Sep 1963 additional recording- 11 Sep 1963 master tape- twintrack 2d generation

[a] mono 30 Sep 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

HOLD ME TIGHT
basic recording- 12 Sep 1963 additional recording- 12 Sep 1963 master tape- twintrack 2d generation

[a] mono 23 Oct 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. edited. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

Lewisohn reports two takes are edited together, and from evidence of bootlegged tapes, the two are both complete takes of a 2d generation overdub onto the same earlier take. In stereo [b], "you you you" at the end has a harmony vocal missing in mono [a], so there was at least one difference in the editing.

59

DON'T BOTHER ME
basic recording- 12 Sep 1963 additional recording- 12 Sep 1963 master tape- twintrack 2d generation

[a] mono 30 Sep 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964. [c] stereo 29 oct 1963 ? Canada: Capitol ST 2047 Meet the Beatles circa 1976.

Mix [c] is like [b] except for a vocal error by George at almost the end of the song, where he sings an extra "don't" out of place in "when she's come home, until that day, DON'T, don't come around, leave me alone". For [a] [b] this could have been removed during remix by cutting out the vocal track but since [c] exists at all, it suggests removal was done by editing the remix? This is on Capitol of Canada purple label side 2 matrix ST2047 B and possibly other label variants issued after they stopped using the Apple label in 1976. Capitol of Canada had previously used only a mono mix of this song for their mono-only "Beatlemania! With the Beatles" LP. (The same reissue LP has "I want to hold your hand" and "This boy" in mock stereo, not using the stereo "This boy" that they had later in 1976.)

LITTLE CHILD
basic recording- 12 Sep 1963 additional recording- 12 Sep, 3 Oct 1963 master tape- twintrack 4th generation

[a] mono 23 Oct 1963. edited. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. edited. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964.

60

[b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964.

The main harmonica and piano are separate overdubs, a total 3 generations. The harmonica solo, a "4th track" (generation) on the song, is edited in to hold the rest of the song to "only" 3 generations. The instrumental track is saturated, as can be heard in stereo. Something else done Oct 3, is only in stereo [b] according to Lewisohn's reporting, and it seems to be the additional vocals heard at the very end.

I WANNA BE YOUR MAN


basic recording- 12 Sep 1963 additional recording- 30 Sep, 3,23 Oct 1963 master tape- twintrack 4th generation

[a] mono 23 Oct 1963. UK: Parlophone PMC 1206 With the Beatles 1963. CD: EMI CDP 7 46436 2 With the Beatles 1987. [b] stereo 29 Oct 1963. UK: Parlophone PCS 3045 With the Beatles 1963. [b1] stereo remixed from [b] 1963, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [b2] mono made from [b] 1963, by Capitol. US: Capitol T 2047 Meet the Beatles 1964. [b3] stereo remixed from [b] 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976.

Again, a lot of tape generations. This was the last twintrack recording started.

[ BBC radio, Public Ear of 3 Nov 1963 ]


basic recording- 3 Oct 1963 at NEMS Office additional recording- none master tape- mono

segment, Beatle Greetings (talk) [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

61

The date is given wrong as 9 Oct in the notes in Live at the BBC.

[ ATV, Val Parnell's Sunday Night at the London Palladium of 13 Oct 1963 ]
basic recording- 13 Oct 1963 at the London Palladium additional recording- none master tape- mono

segment, I'll Get You [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

Live television show before an audience. This is taken from a relatively poor copy that seems to have disk surface noise.

[ BBC radio, Easy Beat of 20 Oct 1963 ]


basic recording- 16 Oct 1963 at Playhouse Theatre additional recording- none master tape- mono

segment, I Saw Her Standing There [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start and end, applause.

Recorded before an audience.

I WANT TO HOLD YOUR HAND


basic recording- 17 Oct 1963 additional recording- 17 Oct 1963 master tape- 4 track

[a] mono 21 Oct 1963. UK: Parlophone R5084 single 1963, Parlophone PMC 7016 Collection of Oldies 1966.

62

US: Capitol 5112 single 1964, Capitol T 2047 Meet the Beatles 1964. CD: EMI single 1989. [a1] mock stereo made from [a] 1964, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [a2] mock stereo made from [a] 1973, by Capitol. US: Apple SKBO-3403 The Beatles 1962-1966 1973. [b] stereo 21 Oct 1963. Australia: Parlophone A8103 single reissue 1976. [c] stereo 8 Jun 1965. Germany: Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965, Odeon SMO 73 692 (later 1C 062-04 363) Beatles Beat 1966. Australia: Parlophone PCSO 7533 Greatest Hits 1 1966. Holland: Odeon OMHS 3001 Beatles Greatest 1967. [d] stereo 7 Nov 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SV-12245 20 Greatest Hits 1982. CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

Stereo mix [b], the first ever made by George Martin from 4-track, has the rhythm instruments far left and vocal far right, like a twintrack mix, leaving the lead guitar isolated in the center, which sounds odd since it only plays fills. Sending this mix to Australia for a 1976 single reissue must have been a mistake. The other two stereo mixes are similar but distinguishable. The June 1965 mix [c] has the lead guitar louder and the handclaps slightly louder, and somewhat more bass sound. Compare for example the right channel on the last "ha-a-a-and": the louder guitar covers the vocal more than in [d]. The more common mix [d] has slightly less bass but the cymbal sound is better-- both these differences from [c] may be pressing or LP mastering, rather than the mix, but the handclap and particularly the lead guitar are mix differences. "20 Greatest Hits" was the first stereo release in the US, using the mix made 16 years earlier in 1966 [d]. (The April 1964 German LP The Beatles Beat has caused a great deal of confusion since from its date it appears that it must use the Oct 1963 stereo mix, the only one in existence when it was compiled. But back issues of Der Grosse Deutsche Schallplatten Katalog prove the original issue was available in mono only, contradicting many later Beatles publications. Two reissues in 1966 (or late 1965) are probably stereo, The Beatles Beat (Odeon STO 73 692) and And Now: the Beatles (S R International Hi-Fi 73 735)-- but we have heard neither. The more common later Beatles Beat (Odeon 1C 062-04 363) definitely has mix [c].)

63

THIS BOY [outtakes]


basic recording- 17 Oct 1963 additional recording- none master tape- 4 track

edit of takes 12 and 13 [a] stereo 1995. edited. CD: Apple C2 8 58497 Free as a Bird 1995.

A breakdown followed by an almost complete take. An instrumental break was edited out of the standard version: here too? This mix puts the vocal center and the lead guitar right, like I Want to Hold Your Hand mixed in 1965 and 1966, but unlike the standard This Boy mixed in 1963, which has vocal right and lead guitar center.

THIS BOY
basic recording- 17 Oct 1963 additional recording- 17 Oct 1963 master tape- 4 track

[a] mono 21 Oct 1963. edited. UK: Parlophone R5084 single 1963, Parlophone PSLP261/PCM1001 Rarities 1978-79. US: Capitol T 2047 Meet the Beatles 1964. CD: EMI single 1989. [a1] mock stereo made from [a] 1964, by Capitol. US: Capitol ST 2047 Meet the Beatles 1964. [a2] mock stereo made from [a] 1977. UK: Parlophone PCSP 721 Love Songs 1977. [b] stereo 21 Oct 1963. edited. Canada: Capitol 72144 reissue 1976 [B side of All My Loving]. Australia: Parlophone A8103 reissue 1976. UK: Parlophone SGE 1 (EP) 1981. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

The edit removed an instrumental break after the bridge, leaving an abrupt transition to the last verse.

64

The only stereo mix documented in Lewisohn is of 10 Nov 1966, but a mix from 1963 is known from the tape compilation by John Barrett at EMI, with an intro spoken by Norman Smith who was not engineer on Beatles sessions in 1966. The stereo image is also similar to that of I Want to Hold Your Hand mixed the same day. Does the 1966 mix exist? The 1963 mix was ignored for many non-UK compilation albums that used mono or locally-made mock stereo, and was finally found and used for the first time for two single reissues in 1976, but for some reason the compilers of Love Songs in 1977 either could not find it or did not know it existed, and instead made yet another mock stereo version.

[ Sveriges Radio, The Beatles, Popgrupp... of 11 Nov 1963 ]


basic recording- 24 Oct 1963 at Karlaplansstudion, Stockholm, Sweden additional recording- none master tape- mono

segment, I Saw Her Standing There / From Me to You / Money [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. A sequence of three songs in order as heard on the radio broadcast, crossfaded at the end to the spoken intro of You Really Got a Hold on Me. In the original, this completed the Beatles' first segment, and a short time later they performed four more.

segment, Roll Over Beethoven [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Fades out after the "thank you" at the end. As broadcast, this song continued to the spoken intro of You Really Got a Hold on Me.

segment, You Really Got a Hold on Me [a] mono 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995.

65

The opening is crossfaded from Money, and it may have a little crowd sound added at the end to provide a transition to Roll Over Beethoven (which preceded it as originally performed and broadcast). Recorded before a small audience for Swedish radio. Above is shown the original playing order; these were followed by two more, She Loves You and Twist and Shout. On Anthology the spoken intros to each song are banded as part of the previous song.

[ 1963 Royal Command Performance (Royal Variety Show) ]


basic recording- 4 Nov 1963 at Prince of Wales Theater additional recording- none master tape- mono

segment, She Loves You / Till There Was You / Twist and Shout [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

The source recording is very likely the ATV broadcast of 10 Nov 1963. This is of course a live performance before an audience, originally starting with From Me to You and then the sequence excerpted here including the talk between songs. It ends with a horn section playing Twist and Shout.

[ ATV, The Morecambe and Wise Show of 18 Apr 1964 ]


basic recording- 2 Dec 1963 at ATV Studios, Borehamwood additional recording- none master tape- mono

segment, This Boy [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Applause at end is crossfaded into the next segment.

segment, I Want to Hold Your Hand / talk / Moonlight Bay

66

[a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Applause at start is crossfaded from the previous segment. This was the end of the show; it fades out as heard here. Recorded before a small audience. The applause between the two segments may have been edited into place for Anthology; it seems to come up suddenly and it serves to hide an incomplete introduction to I Want to Hold Your Hand (which may have been cut to remove overlap from something else?).

67

1964
[ BBC radio, Saturday Club of 15 Feb 1964 ]
basic recording- 7 Jan 1964 at Playhouse Theatre additional recording- none master tape- mono

segment, Johnny B Goode [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. The source probably was taped off AM radio.

KOMM, GIB MIR DEINE HAND


basic recording- 17 Oct 1963 additional recording- 29 Jan 1964 at EMI Pathe Marconi, Paris master tape- twin-track 3d generation (?)

[a] mono 29 Jan 1964 ? at EMI Pathe Marconi, Paris. edited. Germany: Odeon O 22 671 single 1964. [b] mono 10 Mar 1964. edited. Germany: Electrola E 83 659 Komm, Gib Mir Deine Hand 1963, Odeon O 83 756 Something New 1964. US: Capitol T 2018 Something New 1964. [c] stereo 12 Mar 1964. edited. Germany: Electrola STE 83 659 Komm, Gib Mir Deine Hand 1963, Odeon STO 83 756 Something New 1964. US: Capitol ST 2018 Something New 1964. UK: Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. [d] stereo/mono made from [c] 1988 by EMI. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

This is a new vocal dubbed onto a copy of the instrumental tracks of I want to hold your hand from October 17. The edit on all mixes is unspecified but it joins two takes of the German vocal and handclap track.

68

Talk ("coming"?) and at the start of the stereo mix [c] is partly cut off on Parlophone's Rarities but it's still there. Mix [a], not in Lewisohn, is required by German single 22 671 being released on 4 Feb 1964, according to Moers as supported by the catalog number. By about March 10 Odeon was two singles along, Can't Buy Me Love 22 697. If a mix was made in Paris on 29 Jan and shipped directly to Odeon, it might have escaped EMI's bookkeeping and thus also Lewisohn's research. This single was not available for review, so I cannot confirm whether it differs in some way from the mono mixes made later. The mixes of March seem to be for the album Komm, Gib Mir Deine Hand on Electrola, and were then used for any other releases. That album was a collection of songs by various artists, issued probably March 1963. It contained two Beatles songs, the title and She loves you (not Sie Liebt Dich!). Mix [d] sounds superficially like mono, but there is still a slight stereo separation and it can be processed back into mix [c] with vocals on side, instruments on the other.

SIE LIEBT DICH


basic recording- 29 Jan 1964 at EMI Pathe Marconi, Paris additional recording- 29 Jan 1964 at EMI Pathe Marconi, Paris master tape- twintrack 2d generation (?)

[a] mono 29 Jan 1964 ? at EMI Pathe Marconi, Paris. edited. Germany: Odeon O 22 671 single 1964. [b] mono 10 Mar 1964. US: Swan 4182 single 1964. [c] stereo 12 Mar 1964. UK: Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol SHAL-12060 Rarities 1980. [d] stereo/mono made from [c] 1988 by EMI. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

Because the master tapes of She Loves You had gone missing already, this is an all new recording (unlike Komm Gib Mir Deine Hand). It follows the original so closely that it may be they were listening to it while playing. Some have proposed that the original was not yet missing, and that the slight differences in the instrumental parts result from the editing evident on the original. The mono mix [a] of January 29, not in Lewisohn, is required by the song being on the single O 22 671 of 4 February 1964 (see Komm, Gib Mir Deine Hand, above). Mix [d] sounds superficially like mono, but there is still a slight stereo separation and it can be processed back into mix [c] with vocals on side, instruments on the other. 69

CAN'T BUY ME LOVE [outtake]


basic recording- 29 Jan 1964 at EMI Pathe Marconi, Paris additional recording- none master tape- 4 track

edit of takes 2 and 1 [a] mono 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995. Take 2 with the guitar solo from take 1 edited in.

An unedited take 2 was bootlegged in stereo as part of the Ultra Rare Trax material in 1988, and it shows why a guitar solo was edited in here from another take. On Anthology 1, reverb has been added.

CAN'T BUY ME LOVE


basic recording- 29 Jan 1964 at EMI Pathe Marconi, Paris additional recording- 29 Jan at EMI Pathe Marconi, Paris; 25 Feb, 10 Mar 1964 master tape- 4 track 2d generation

[a] mono 26 Feb 1964. UK: Parlophone R5114 single 1964, Parlophone PMC 1230 Hard Day's Night 1964, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5150 single 1964, United Artists UAL 3366 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989. [a1] mono made from [a] 1964, by United Artists. US: United Artists UAS 6366 Hard Day's Night 1964. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Apple SW-385 Hey Jude 1970, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1993. CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The mono mix [a] has the rhythm track mixed more upfront, and sounds more powerful, but at the same time the guitar is less audible.

70

In both stereo mixes [b] [c], some of the drum sound appears in the center, fading up in between vocal lines and then back down, giving the impression it sounds this way on the multi-track. However, the outtake from the same day (see above) does not have this, so maybe it happened during the work in February rather than during recording. It may make for a better compressed sound in mono but sounds bad in stereo. The stereo version that appeared the German LP The Beatles Beat, when it was issued in stereo in late 1965 or 1966, seems to have the lead guitar mixed a little softer. I think this is a mastering difference-- several songs on the LP have less harsh treble-- but this one is still open. It might be the stereo mix done March 10 and believed to be unused. The processing by United Artists for [a1] "stereo" is curious: the song is entirely mono, except that it bounces toward right and then left channels at the vocal lines "[bounce] much for money [bounce] cause money can't buy me love". The mono mix used in the movie (based on the American Film Institute restored version of 1996) has the guitar mixed louder. The source of this mix is unknown, and it does not appear on disk. In earlier versions of this Variations guide, the mono mix is said to have additional drumming. It now appears to me that the same drumming is just mixed louder. Anyone care to listen?

[CBS TV, The Ed Sullivan Show of 9 Feb 1964]


basic recording- 9 Feb 1964 at CBS Studio 50, New York additional recording- none master tape- mono

segment, All My Loving [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

Broadcast live before an audience.

YOU CAN'T DO THAT [outtake]


basic recording- 25 Feb 1964 additional recording- none master tape- 4 track

71

[a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

YOU CAN'T DO THAT


basic recording- 25 Feb 1964 additional recording- 25 Feb 1964 master tape- 4 track

[a] mono 26 Feb 1964. US: Capitol 5150 single 1964, Capitol T 2080 Second 1964. [a1] mock stereo made from [a] 1964, by Capitol. US: Capitol ST 2080 Second 1964. [b] mono 26 Feb 1964. UK: Parlophone R5114 single 1964, Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol SKBO-11537 Rock and Roll Music 1976.

The two mono mixes [a] [b] seem identical but Lewisohn reports separate mixes for the US and UK. A new stereo mix of 1994 appears on the home video "The Making of A Hard Day's Night", but not on disk.

AND I LOVE HER [outtake]


basic recording- 25 Feb 1964 additional recording- none master tape- 4 track

[a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

72

I SHOULD HAVE KNOWN BETTER


basic recording- 26 Feb 1964 additional recording- 26 Feb 1964 master tape- 4 track

[a] mono 3 Mar 1964. edited. UK: Parlophone PMC 1230 Hard Day's Night 1964. US: Capitol 5222 single 1964, United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Apple SW-385 Hey Jude 1970. [c] stereo 1982. edited. US: Capitol SV-12199 Reel Music 1982.

The mono [a] fades out a little faster than the stereo [b]. The harmonica during the intro cuts out suddenly at one point (the fourth phrase) in stereo [b], but is fixed in the other two by edit: mono [a] repeats the third harmonica phrase, and the new stereo mix [c] repeats the second phrase. In the home video A Hard Day's Night, the new stereo mix [c] is used in the train scene but the old one [b] with the harmonica mistake is used in the television show scene later, where it seems to match his movements. Note, UK: Parlophone PCS 7218 Reel Music 1982 uses the old stereo mix [b].

AND I LOVE HER


basic recording- 27 Feb 1964 additional recording- 27 Feb 1964 master tape- 4 track

[a] mono 3 Mar 1964. US: United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5235 single 1964, Capitol T 2018 Something New 1964. [b] mono 22 Jun 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964, Apple PCSP 717 The Beatles

73

1962-1966 1973. US: Capitol ST 2018 Something New 1964, Apple SKBO-3403 The Beatles 1962-1966 1973. [c1] stereo, probably edited. Germany: Odeon STO 83 756 (later 1C 062-04 600) Something New 1964. US: Capitol SHAL-12060 Rarities 1980. [d] stereo 1993. CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The "United Artists mix" [a] has a single track vocal (with harmonies), while the others have double track most of the way. Lewisohn does not report any recording after Feb 27, and if so it is a mix difference. "Bright are the stars that shine, dark is the sky" is always single tracked. Interestingly, the start of Paul's humming after the last lyrics, as heard in other versions, is just barely audible in [a], as if on a track being mixed out. The "German stereo version" [c1] has six guitar riffs at the end instead of only four. It seems to have been made by editing in repeats, rather than being an untrimmed version, although for what purpose is unknown. It also has the guitar softer on left, but this seems to be a balancing error, not a different mix, since the centered vocal is also pulled a little to right, as it would be if the balance were off. Another stereo mix with only two riffs at the end is documented on a tape copy but the original source is not known.

TELL ME WHY
basic recording- 27 Feb 1964 additional recording- 27 Feb 1964 master tape- 4 track

[a] mono 3 Mar 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. US: United Artists UAL 3366 Hard Day's Night 1964, Capitol T 2018 Something New 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [a1] mono made from [a] 1964, by United Artists. US: United Artists UAS 6366 Hard Day's Night 1964. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2018 Something New 1964.

Stereo [b] has a noise at the very end edited off the others. [a1] on UAS 6366 is mono except that in the verses it shifts toward the left for the solo call (John solo) and toward the right for the response (group).

74

Steve Shorten reports the original filmprint of A Hard Day's Night has a different mono mix undocumented by Lewisohn, probably March 3, with the doubletrack vocal mixed differently, noticeably on "well I'm beggin' on my bended knees, if you'll only listen to my pleas". See the American Film Institute restored version of 1996.

IF I FELL
basic recording- 27 Feb 1964 additional recording- 27 Feb 1964 master tape- 4 track

[a] mono 3 mar 1964. edited. UK: Parlophone PMC 1230 Hard Day's Night 1964. US: United Artists UAL 3366 Hard Day's Night 1964, Capitol 5235 single 1964, Capitol T 2018 Something New 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [a1] mono made from [a] 1964, by United Artists. US: United Artists UAS 6366 Hard Day's Night 1964. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2018 Something New 1964.

Stereo [b] has a double track John on the intro, unlike mono [a], with a slight lag in one track at the first word "if" and at "and" in "and I've found". Paul misses the high note the second time on the word "vain" ("our new love was in vain"), as heard in stereo [b], but corrected in mono [a] by editing in the same word from the first time round (based on listening). [a1] has the intro toward the left but all the rest centered.

[ BBC radio, From Us to You of 30 Mar 1964 ]


basic recording- 28 Feb 1964 at BBC Piccadilly Studios additional recording- none master tape- mono

segment, From Us to You [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

75

Crossfade at end.

segment, Just a Rumour(talk)/Roll Over Beethoven [a] mono 1994. edited. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfade at start. On the original, it crossfades from a different song (You Can't Do That), so there is an interesting edit here.

segment, From Fluff to You(talk)/Till There Was You [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, I Wanna Be Your Man [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfade at end.

segment, All My Loving [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfade at end.

segment, Can't Buy Me Love [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfade at start.

I'M HAPPY JUST TO DANCE WITH YOU


basic recording- 1 Mar 1964 additional recording- none master tape- 4 track

[a] mono 3 Mar 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. 76

US: United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5234 single 1964, Capitol T 2018 Something New 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2018 Something New 1964.

LONG TALL SALLY


basic recording- 1 Mar 1964 additional recording- none master tape- 4 track

[a] stereo 10 Mar 1964. US: Capitol ST 2080 Second 1964. Germany: Teldec SHZT 516 Schlagen des Jahres [collection] 1964, Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965. [b] mono 10 Mar 1964. US: Capitol T 2080 Second 1964. Canada: Capitol T 6063 Long Tall Sally 1964. [c] mono 4 Jun 1964. UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. CD: EMI EP box set 1991. [d] stereo 22 Jun 1964. Australia: Parlophone PCSO 7533 Greatest Hits 1 1966. UK: Parlophone PCSP 719 Rock and Roll Music 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

Of the mono mixes, [c] has echo added, while [b] does not. In stereo, [a] has the vocal over to the right side while in [d] it is centered.

I CALL YOUR NAME


basic recording- 2 Mar 1964 additional recording- 2 Mar 1964 master tape- 4 track

[a] mono 4 Mar 1964. edited. US: Capitol T 2080 Second 1964. Canada: Capitol T 6063 Long Tall Sally 1964.

77

[b] stereo 10 Mar 1964. edited. US: Capitol ST 2080 Second 1964. [c] mono 4 Jun 1964. edited. UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. CD: EMI EP box set 1991. [d] stereo 22 Jun 1964. edited. UK: Parlophone PCSP 719 Rock and Roll Music 1976. US: Capitol SKBO-11537 Rock and Roll Music 1976. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

All versions have edits, but different edits. The take (7) used for the main part of the song has a cowbell track that distinguishes it from other takes. The cowbell track is itself mixed more or less loudly. Take 7 also has a double track vocal. Both stereo mixes [b] [d] have a different, better guitar intro edited in, but done differently, so there are three versions of the intro. In the original intro as heard in mono [a] [c], the cowbell starts right away. The older stereo mix [b] with the better guitar intro has no cowbell until the edit, which comes just before the vocal starts. In the newer stereo mix [d], the edit comes after the first line ("I call your name, but you're not there"), so it has neither cowbell nor the second vocal track until that point. A second, obvious stereo difference is that the older stereo mix [b] has the vocal over on the right while the newer one [d] has the vocal and cowbell centered. All mixes have an edit for the guitar solo, but the edit into the solo comes at two different places. In the older mono mix [a] and the newer stereo mix [d] it comes after the vocal, evidenced by the cowbell through the words "I call your name", but in the other two [b] [c] it comes just before that last line of vocal. The edit at the end of the solo is at the same place but there are slight variations in how well it was done. There was a March 3 mono mix for the film, but the song was not used in the film and United Artists did not use it on their LP either.

A HARD DAY'S NIGHT [outtake]


basic recording- 16 Apr 1964 additional recording- none master tape- 4 track

[a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

78

The heavy reverb on the opening chord and at the end were added for Anthology 1 without comment. A clean stereo mix has been bootlegged.

A HARD DAY'S NIGHT


basic recording- 16 Apr 1964 additional recording- 16 Apr 1964 master tape- 4 track

[a] mono 23 Apr 1964. UK: Parlophone R5160 single 1964, Parlophone PMC 1230 Hard Day's Night 1964, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5222 single 1964, United Artists UAL 3366 Hard Day's Night 1964, Apple SKBO-3403 The Beatles 1962-1966 1973. CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989. [a1] mono made from [a] 1964, by United Artists. US: United Artists UAS 6366 Hard Day's Night 1964. [b] mono 9 Jun 1964. US: United Artists K-9006 (cassette) Hard Day's Night 1968, United Artists U9006 (8-track tape) Hard Day's Night 1970. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SV-12199 Reel Music 1982, Capitol SV-12245 20 Greatest Hits 1982. [d] stereo 1993. CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

Mono [b], also used in the original film print of A Hard Day's Night, has an extended ending, made by editing, in which the guitar figure at the end is heard 5 times instead of 3; this is actually heard only in the end title. Note that [b] is not on the older reel-to-reel tape release. [a1] is mono, but shifts toward the left for Paul's solo vocal bridge ("when I'm home. . .") and toward the right for the instrumental break. The centering of the vocal is better in the new stereo mix [d] than the old one [c], where it is pulled a bit to the right. "Reel Music" was the first US release in stereo, 18 years late.

79

[Rediffusion TV, Around the Beatles, 6 May 1964]


basic recording- 19 Apr 1964 additional recording- none master tape- 3 track

segment: I Wanna Be Your Man [a] stereo 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

segment: Long Tall Sally [a] stereo 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

segment: Boys [outtake] [a] stereo 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Boys was not used on the program.

segment: Shout! [a] stereo 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995. Edited from 2:00 to 1:27 for the Anthology! George calls "a little bit softer now" 17 times, but the 7th to 15th are missing; Ringo then calls "a little bit louder now" 12 times, but the 3d to 6th are missing. The volume of the vocals drops as George calls "softer" in this mix, but in the original mono mix for the show, only the instrumentals went quieter.

The songs were recorded separately ahead of time, and played back while the Beatles mimed them while recording the rest of the show a few days later before an audience. Bootlegged versions included both the mono mixes of the songs (except Boys) and the same as taken from the soundtrack of the show with audience screaming. These stereo mixes sound really bad, and since the EMI material is almost all mono on Anthology 1, why did they use this in stereo?

80

[ BBC radio, From Us to You of 18 May 1964 ]


basic recording- 1 May 1964 at BBC Paris Studio additional recording- none master tape- mono

segment, I Forgot to Remember [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. The source was almost certainly taped off AM radio.

MATCHBOX
basic recording- 1 Jun 1964 additional recording- 1 Jun 1964 master tape- 4 track

[a] mono 4 Jun 1964. edited. UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5255 single 1964, Capitol T 2018 Something New 1964. CD: EMI EP box set 1991. [b] stereo 22 Jun 1964. edited. US: Capitol ST 2018 Something New 1964, Capitol SKBO-11537 Rock and Roll Music 1976. UK: Parlophone PCSP 719 Rock and Roll Music 1976. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

This has generous reverb on the vocal, and stereo [b] has more than mono [a]. Ringo sings the last word of "your puppy dog runs" indistinctly in mono [a], but that is corrected by an edit or overdub in stereo [b]. The guitar solo ends differently so at least one of the two has an edit there.

I'LL CRY INSTEAD


basic recording- 1 Jun 1964 additional recording- 1 Jun 1964 master tape- 4 track

81

[a] mono 4 Jun 1964. edited. US: United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5234 single 1964, Capitol T 2018 Something New 1964. [b] mono 4 Jun 1964. edited. UK: Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [c] stereo 22 Jun 1964. edited. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2018 Something New 1964.

Lewisohn reports the song was recorded in two sections that were edited together, but not what the sections are. Additionally, only one mono mix is documented, but we have two, which I tentatively date the same day. The mono mix used in the US [a] is the "long version" that has an additional verse, verse 4, obviously edited in, which repeats the lyrics but not the same recording of verse 1. The UK mono mix [b] and the standard stereo mix [c] are by comparison the "short version". (Possibly, [b] is just a mono reduction of [c], explaining why only one real mono mix is documented?) A "long version" stereo mix made by editing [c] was used in a montage of still photos that opened the 1982 theatrical reissue of the film A Hard Day's Night, as well as the subsequent home video release. It is a forgery of a nonexistent "complete" version, as if the mono long version [a] were not extended by an edit, and is not like [a] because it edits in a repeat of the same recording of verse 1, not a different one. It's reported but not confirmed that this "long version" stereo mix is on late copies of the single, Capitol A6282, and it's on the bootleg LP "Casualties" of 1982.

SLOW DOWN
basic recording- 1 Jun 1964 additional recording- 1,4 Jun 1964 master tape- 4 track

[a] mono 4 Jun 1964. UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5255 single 1964, Capitol T 2018 Something New 1964. CD: EMI EP box set 1991. [b] stereo 22 Jun 1964. US: Capitol ST 2018 Something New 1964, Capitol SKBO-11537 Rock and Roll Music 1976. UK: Parlophone PCSP 719 Rock and Roll Music 1976. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

82

Stereo [b] has the vocal and piano much louder (or one might say the rest is softer), and a cry "ow" is heard only in [b] just before the guitar at the end. The vocal has a doubletracking error at what should be "now you got a boyfriend down the street" in verse 2. This is heard less distinctly in mono [a], as if the bad track were mixed down at that point, but it is there, marking it as the same vocal and not different as reported elsewhere. The bad vocal track seems to have "girlfriend" for "boyfriend"-however, on the BBC radio version (11 months earlier than this EMI recording) John sings "now you don't care a dime for me", which is possibly what is here too.

I'LL BE BACK [outtakes]


basic recording- 1 Jun 1964 additional recording- none master tape- 4 track

edit of takes 2 and 3 [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. The Anthology 1 track contains breakdown take 2 to its apparent conclusion, where it is edited straight into talk at the start of the next take. The track break is at the start of the music of take 3.

take 3 [a] mono 1994. CD: Apple CDP 8 34445 2 Anthology 1 1995. Some ears detect a very slight processing of this track to mock stereo.

I'LL BE BACK
basic recording- 1 Jun 1964 additional recording- 1 Jun 1964 master tape- 4 track

[a] mono 22 Jun 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

83

[b] mono 22 Jun 1964. US: Capitol T 2228 Beatles '65 1964. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2228 Beatles '65 1964.

US mono [b] runs slower than [a] and actually wobbles at a few points [b] also has a little echo while [a] has none. Capitol's stereo version has an unusually large amount of added echo even for them. Late in the LP era (black label) a new master was made for Capitol with a version sounding like the UK version.

THINGS WE SAID TODAY


basic recording- 2 Jun 1964 additional recording- 2,3 Jun 1964 master tape- 4 track

[a] mono 4 Jun 1964. UK: Parlophone R5160 single 1964, Parlophone PMC 1230 Hard Day's Night 1964. US: Capitol 5222 single 1964, Capitol T 2018 Something New 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989. [b] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2108 Something New 1964.

WHEN I GET HOME


basic recording- 2 Jun 1964 additional recording- 4 Jun 1964 master tape- 4 track

[a] mono 22 Jun 1964. US: Capitol T 2018 Something New 1964. [b] mono 22 Jun 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2108 Something New 1964.

84

US mono [a] has the piano mixed louder than UK mono [b], but the latter has a louder percussion crash at "whoa-ah". And they were mixed one right after the other. The line "till I walk out that door" is doubletracked in US mono [a] while only "out that door" is in [b] and [c]. As heard on [a], one of the vocals starts "till I" before the other, and the single vocal track used in [b] [c] is the one that starts later. As a result, this variation has been reported elsewhere as an edit instead of a mix difference.

ANY TIME AT ALL


basic recording- 2 Jun 1964 additional recording- 2,3 Jun 1964 master tape- 4 track

[a] mono 22 Jun 1964. US: Capitol T 2018 Something New 1964. [b] mono 22 Jun 1964. UK: Parlophone PMC 1230 Hard Day's Night 1964. CD: EMI CDP 7 46437 2 Hard Day's Night 1987. [c] stereo 22 Jun 1964. UK: Parlophone PCS 3058 Hard Day's Night 1964. US: Capitol ST 2108 Something New 1964.

US mono [a] has the piano mixed way down compared to the others (it is not completely missing as some say), and the single drumbeat just before the chorus is either missing or way down so that we hear only what sounds like a thump on a guitar body... and these mixes were all done on the same day. The stereo separation in [c] shows the rhythm track fading up louder between vocal lines, as in stereo Can't buy me love, possibly leakage into the vocal microphones during live recording.

YOU'LL KNOW WHAT TO DO [outtake]


basic recording- 3 Jun 1964 additional recording- 3 Jun 1964 master tape- 4 track

[a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

The title is given as shown above by the copyright papers, reported in Lewisohn's "Chronicle", but shown as You Know What to Do on the Anthology. This tape, believed lost, was found misfiled in 1993.

85

[ BBC radio, Top Gear of 16 Jul 1964 ]


basic recording- 14 Jul 1964 at Broadcasting House additional recording- 16 Apr 1964 master tape- mono

segment, Things We Said Today [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfade at end. Live at the BBC uses this take, but gets it from a source tape of the BBC syndicated radio program, Top of the Pops, so it is heard with a voiceover from that show and not the original Top Gear. (And this is not to be confused with the TV show Top of the Pops.)

segment, Crinsk Dee Night (talk) / A Hard Day's Night / first part of Have a Banana! (talk) [a] mono 1994. edited. CD: EMI CDP 8 31796 2 Live at the BBC 1994. In Crinsk Dee Night, after "hands of the Beatles" a few unimportant lines are cut out to "in my younger days". A Hard Day's Night was broadcast with the instrumental break from the EMI recording (16 Apr 1964) cut crudely into it. Have a Banana! has an edit after "no point your being here, is there?" cutting away to an unidentified piece starting "critical lot of fellows". The first section of it would have continued into more talk including Paul and Ringo singing part of Don't Pass Me By.

segment, second part of Have a Banana! (talk) [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. This piece is probably from the same show, but its original location in the program is unknown.

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BABY'S IN BLACK
basic recording- 11 Aug 1964 additional recording- none master tape- 4 track

[a] mono 26 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

I'M A LOSER
basic recording- 14 Aug 1964 additional recording- none master tape- 4 track

[a] mono 26 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

Stereo [b] has the lead guitar mixed louder.

MR MOONLIGHT [outtake]
basic recording- 14 Aug 1964 additional recording- none master tape- 4 track

edit of takes 1 and 4 [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

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The brief take 1 is edited straight into take 4 for the Anthology.

LEAVE MY KITTEN ALONE [outtake]


basic recording- 14 Aug 1964 additional recording- 14 Aug 1964 master tape- 4 track 2d generation

[a] mock stereo Jul 1984 at AIR Studios, Montserrat. CD: Apple CDP 8 34445 2 Anthology 1 1995.

This unreleased song was on the list for a proposed album in 1981, proposed for a Christmas single in 1982, included in the Abbey Road Studio show in 1983, and mixed for the unreleased Sessions album in 1984. The mix is mock stereo made from 4 track! The treble end of the rhythm track, essentially the tambourine sound, was enhanced and is heard thrown rapidly between far left and far right, while the rest of that track, and all of the other three, are heard mixed into the center.

[ Hollywood Bowl concert 1 ]


basic recording- 23 Aug 1964 at Hollywood Bowl, Los Angeles additional recording- none master tape- 3 track

[a] stereo Jan 1977 at AIR, London. edited. UK: Parlophone EMTV 4 At the Hollywood Bowl 1977. US: Capitol SMAS-11638 At the Hollywood Bowl 1977.

Segments used contain: All My Loving; She Loves You; Things We Said Today; Roll Over Beethoven; Boys; Long Tall Sally.

I DON'T WANT TO SPOIL THE PARTY


basic recording- 29 Sep 1964 additional recording- none master tape- 4 track

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[a] mono 26 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol 5371 single 1965, Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2358 Beatles VI 1965.

Stereo [b] has a cry "woo" before the instrumental break, not in mono [a], and the guitar is mixed louder.

EVERY LITTLE THING


basic recording- 30 Sep 1964 additional recording- none master tape- 4 track

[a] mono 27 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 27 Oct 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2358 Beatles VI 1965.

NO REPLY [outtakes]
basic recording- 30 Sep 1964 additional recording- none master tape- 4 track

take 1 [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. This is dated as 3 Jun 1964 on the Anthology, and in the notes Mark Lewisohn has to admit that it's hard to credit the drums on it if it was made without Ringo. I'm going to join some others with tentatively redating it to be take 1 of this day, based both on the drums' similarity to the drums in take 2 (after the opening verse), and to the laughter about singing errors on the line "see your face" heard in both takes. The differences in the arrangements and lyrics, an argument for

89

different dates, seem no worse than for some other songs improved in the studio. And yet this has to marked as unsettled.

take 2 [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995. Processed to something like mock stereo, and yet quite subtly, and I don't feel comfortable calling it anything but mono.

NO REPLY
basic recording- 30 Sep 1964 additional recording- none master tape- 4 track

[a] mono 16 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

A minor double track difference shows that decisions were made at mix stage: in "in my place" the first time, [a] has doubletrack on "place" while [b] has it on "my place". The stereo mix [b] also reveals a cough after "your window" near the beginning.

EIGHT DAYS A WEEK [outtakes]


basic recording- 6 Oct 1964 additional recording- none master tape- 4 track

edit of excerpts from takes 2, 1, 4, and 5 [a] mono 1995. edited. CD: Apple CDP 8 34445 2 Anthology 1 1995. These were edited together for a track called "false starts" on the Anthology. Based on Lewisohn's Recording Sessions, the first take heard here is take 2, the

90

one that starts with a rising series of "oooh" with no guitar at first, and it fades out at 0:49. It is crossfaded with take 1, identified in Recording Sessions as having only guitar in the intro, running from 0:46 to 1:00, where it is edited to the next take so suddenly that it appears to be a breakdown, but, according to the book, it was not. Next is take 4, matching the book's description as having a steady "oooh" with guitar, from the hard edit at 1:00 to probably 1:21, when it again edits hard into a few seconds of preliminary talk of take 5. The song performance of take 5 is set off as the next Anthology track.

take 5 [a] mono 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

EIGHT DAYS A WEEK


basic recording- 6 Oct 1964 additional recording- 6,18 Oct 1964 master tape- 4 track

[a] mono 27 Oct 1964. edited. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol 5371 single 1965, Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 27 Oct 1964. edited. UK: Parlophone PCS 3062 For Sale 1964, Apple PCSP 717 The Beatles 19621966 1973. US: Capitol ST 2358 Beatles VI 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1993. edited. CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The intro and ending were edited in. The remix [c] sounds identical to the old stereo version [b] but was reportedly redone for CD.

SHE'S A WOMAN
basic recording- 8 Oct 1964 additional recording- 8 Oct 1964 master tape- 4 track

91

[a] mono 12 Oct 1964. UK: Parlophone R5200 single 1965, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. CD: EMI single 1989. [b] stereo 12 Oct 1964. Australia: Parlophone PCSO 7534 Greatest Hits 2 1967. CD: EMI CDP 7 90043 2 Past Masters 1 1988. [b1] stereo, untrimmed. UK: Parlophone SGE 1 (EP) 1981. CD: EP box set 1991. [c] mono 21 Oct 1964. US: Capitol 5327 single 1964, Capitol T 2228 Beatles '65 1964. [c1] mock stereo made from [c] 1964, by Capitol. US: Capitol ST 2228 Beatles '65 1964.

UK mono [a] and stereo [b] have a slightly longer fade, "she's a woman" 5 times, against 3 on US mono [c]. UK mono [a] has no echo on the vocal, while US mono [c] has echo on everything that was probably added by Capitol. US mono [c] also seems to have less piano than [a] but the echo may just be drowning it. The mock stereo conversion from it [c1] is muddy. Stereo [b], also without the echo, seems to have gone missing in the vaults for a while after being copied for Australia in 1967, as it was not used for the Parlophone Rarities LP, but it was found for the CD release. [b1] "untrimmed" is the same mix with a countdown at the start, from a master reel.

KANSAS CITY/HEY HEY HEY HEY


basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 26 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 26 Oct 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2358 Beatles VI 1965.

[a] fades a little earlier.

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KANSAS CITY/HEY HEY HEY HEY [outtake]


basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34445 2 Anthology 1 1995.

The only EMI cut in true stereo on Anthology volume 1, but with a catch: the rhythm track has been split a la mock stereo with the bass mixed left and the rest center. Compare to the stereo mix of the standard version.

MR MOONLIGHT
basic recording- 18 Oct 1964 additional recording- 18 Oct 1964 master tape- 4 track

[a] mono 27 Oct 1964. UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 27 Oct 1964. UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

[a] fades a little earlier.

I FEEL FINE
basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 21 Oct 1964. UK: Parlophone R5200 single 1965, Parlophone PMC 7016 Collection of Oldies 1966. CD: EMI single 1989. [a1] mock stereo made from [a] 1964, by Odeon. Germany: Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965.

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[b] mono 21 Oct 1964. US: Capitol 5327 single 1964, Capitol T 2228 Beatles '65 1964, Apple SKBO3403 The Beatles 1962-1966 1973. [b1] mock stereo made from [b] 1964, by Capitol. US: Capitol ST 2228 Beatles '65 1964. [c] stereo 4 Nov 1964 UK: Apple PCSP 717 The Beatles 1962-1966 1973. [c1] stereo, trimmed. UK: Parlophone PCS 7016 Collection of Oldies 1966. US: Capitol SV-12245 20 Greatest Hits 1982. Australia: Parlophone PCSO 7534 Greatest Hits 2 1967. CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

German mock stereo [a1] actually fades a little longer than [a] and is the longest fade of any mix. US mono [b] has an enormous reverb effect that may have been done by Capitol. The mock stereo made from it [b1] really stands out as the most distorted Beatles cut Capitol ever created. Stereo [c] starts with a second or so of whispering and tapping before the usual opening. [c1] is a "trimmed" version without the whispering; the trimming may be local to each release. The open-microphone sounds at the opening (whispers, snaredrum resonating (?)) are clearer on CD. All versions have Paul barking like a dog at the very end of the fade, which is a bit easier to hear in stereo.

I'LL FOLLOW THE SUN


basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 21 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

The stereo mix [b] has more reverb than the mono. 94

EVERYBODY'S TRYING TO BE MY BABY


basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 21 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

ROCK AND ROLL MUSIC


basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 26 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

WORDS OF LOVE
basic recording- 18 Oct 1964 additional recording- 18 Oct 1964 master tape- 4 track

[a] mono 26 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987.

95

[b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2358 Beatles VI 1965.

Mono [a] is 9 seconds longer, longer fade.

HONEY DON'T
basic recording- 18 Oct 1964 additional recording- none master tape- 4 track

[a] mono 21 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2228 Beatles '65 1964. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2228 Beatles '65 1964.

WHAT YOU'RE DOING


basic recording- 26 Oct 1964 additional recording- none master tape- 4 track

[a] mono 21 Oct 1964 UK: Parlophone PMC 1240 For Sale 1964. US: Capitol T 2358 Beatles VI 1965. CD: EMI CDP 7 46438 2 For Sale 1987. [b] stereo 4 Nov 1964 UK: Parlophone PCS 3062 For Sale 1964. US: Capitol ST 2358 Beatles VI 1965.

[b] has a handclap in the intro missing in [a], and the drum and rhythm track is mixed softer.

96

[ BBC radio, Top Gear of 26 Nov 1964 ]


basic recording- 17 Nov 1964 at Playhouse Theatre additional recording- none master tape- mono

segment, I'm a Loser [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Riding on a Bus(talk) [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Crossfaded at start.

segment, She's a Woman [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. This is of poorer sound quality than the others from this show.

segment, Everybody's Trying to Be My Baby [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994. Live at the BBC uses this take of Everybody's Trying to Be My Baby, but get it from a source tape of the BBC radio Saturday Club of 26 Dec 1964, where it was played for a second time. The notes do not give the correct recording date.

segment, I'll Follow the Sun [a] mono 1994. CD: EMI C2 8 58349 2 Baby It's You 1995.

segment, I Feel Fine [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

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[ BBC radio, Saturday Club of 26 Dec 1964 ]


basic recording- 25 Nov 1964 at Aeolian Hall additional recording- none master tape- mono

segment, Rock and Roll Music [a] mono 1994. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

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1965
TICKET TO RIDE
basic recording- 15 Feb 1965 additional recording- 15 Feb 1965 master tape- 4 track

[a] mono 18 Feb 1965. UK: Parlophone R5265 single 1965, Parlophone PMC 1255 Help! 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5407 single 1965, Capitol MAS 2386 Help! 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. CD: EMI single 1989. [a1] mock stereo made from [a] 1965, by Capitol. US: Capitol SMAS 2386 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SV-12199 Reel Music 1982, Capitol SV-12245 20 Greatest Hits 1982. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 19621966 1993.

Mono [a] has some added reverb. Capitol's version seems to have the same additional reverb as on the fake stereo mix: the mono LP version sounds like [a1] reduced to mono. Another mono mix was made for the original film soundtrack of Help! on 15 March 1965. The stereo versions fade a little longer than [a]. In [b] the whole track has been given a bass boost to make up for poor bass guitar sound, or at least on the Parlophone LP it has. The bass guitar guitar has better presence in [c] but the rest is less bassy and the vocal sounds sharper.

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ANOTHER GIRL
basic recording- 15 Feb 1965 additional recording- 15,16 Feb 1965 master tape- 4 track

[a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

The main rhythm track is mixed quieter in mono [a] than in stereo.

I NEED YOU
basic recording- 15 Feb 1965 additional recording- 15,16 Feb 1965 master tape- 4 track

[a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

YES IT IS [outtake]
basic recording- 16 Feb 1965 additional recording- 16 Feb 1965 master tape- 4 track

100

[a] mono and stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Mono for the outtake. Where it breaks down, it is crossfaded into a stereo remix of the standard take. The outtake has been bootlegged in stereo.

YES IT IS
basic recording- 16 Feb 1965 additional recording- 16 Feb 1965 master tape- 4 track

[a] mono 18 Feb 1965. UK: Parlophone R5265 single 1965, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5407 single 1965, Capitol T 2358 Beatles VI 1965. CD: EMI single 1989. [a1] mock stereo made from [a] 1965, by Capitol. US: Capitol ST 2358 Beatles VI 1965. [a2] mock stereo made from [a] 1977. UK: Parlophone PCSP 721 Love Songs 1977. US: Capitol SKBL 11711 Love Songs 1977. [b] stereo 23 Feb 1965. UK: Stilletto/Parlophone SMMC-151 (Heineken beer promo, cassette) Only the Beatles 1986. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

The stereo mix [b] must have been well hidden away, not used in 1977 or 1979 for collections. It first appeared on a promotional offer tape from Heineken Beer in 1986, available by mail order for a few weeks. It has a dropout (a tape defect) in verse 1 on the word "I" in "remember what I said tonight", and an extra tone-pedal note under the first word "if". Part of this same take was remixed to complete the outtake (see above) for Anthology 2.

THE NIGHT BEFORE


basic recording- 17 Feb 1965 additional recording- 17 Feb 1965 master tape- 4 track

101

[a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

YOU LIKE ME TOO MUCH


basic recording- 17 Feb 1965 additional recording- 17 Feb 1965 master tape- 4 track

[a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. CD: EP Box set 1991. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

The CD reproduction of [c] is so clear that a click can be heard where they turn off the Leslie speaker for the piano after the intro! This is probably on the other mixes also.

YOU'VE GOT TO HIDE YOUR LOVE AWAY [outtake]


basic recording- 18 Feb 1965 additional recording- none master tape- 4 track

[a] mono 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

102

An edit of talk before takes 1 and 2, and then the music of take 5. No flutes (recorded during the standard take, later). Possibly this much is on only two tracks, explaining the mono mix?

YOU'VE GOT TO HIDE YOUR LOVE AWAY


basic recording- 18 Feb 1965 additional recording- none master tape- 4 track

[a] mono 20 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SMAS 2386 Help! 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 19621966 1993.

Mono [a] has a little reverb missing on the dryer stereo [b].

IF YOU'VE GOT TROUBLE [outtake]


basic recording- 18 Feb 1965 additional recording- 18 Feb 1965 master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Not the edited mix prepared for the Sessions LP in 1984, but a new one with the whole song, except one "anybody" mixed out after "rock on anybody". A stereo mix of the full song was bootlegged in the Unsurpassed Masters set in 1989.

103

TELL ME WHAT YOU SEE


basic recording- 18 Feb 1965 additional recording- 18 Feb 1965 master tape- 4 track

[a] mono 20 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

This is practically a 2-track recording from the sound of it-- the right stereo channel in [b] [c] has only a piano overdub in a few places.

YOU'RE GOING TO LOSE THAT GIRL


basic recording- 19 Feb 1965 additional recording- 19 Feb 1965 master tape- 4 track

[a] mono 20 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. [b1] stereo, less trimmed. US: Capitol SMAS 2386 Help! 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

Capitol's stereo [b1] has a sound at the very beginning that is missing in the others, possibly the extreme end of the countdown as heard in the film's soundtrack, if that is authentically part of the recording.

104

THAT MEANS A LOT [outtake]


basic recording- 20 Feb 1965 additional recording- 20 Feb 1965 master tape- 4 track 2d generation

[a] mono 20 Feb 1965. CD: Apple CDP 8 34448 2 Anthology 2 1996.

This is probably the 1965 mono mix, and it sounds a little distorted. The same mix was slated for the Sessions LP and has appeared on bootlegs (a remake in March has also been bootlegged).

HELP!
basic recording- 13 Apr 1965 additional recording- 13 Apr 1965 master tape- 4 track

[a] mono 18 Jun 1965. edited. UK: Parlophone R5305 single 1965, Parlophone PMC 1255 Help! 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5476 single 1965, Capitol SHAL-12060 Rarities 1980. CD: EMI single 1989. [b] stereo 18 Jun 1965. edited. UK: Parlophone PCS 3071 Help! 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SMAS 2386 Help! 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. edited. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 19621966 1993.

The mono mix [a] has a different lead vocal from the one on the two stereo mixes [b] [c]. John's voice is rougher all through the mono vocal. The stereo mixes also have a tambourine during the chorus that is not heard in [a] mono. Two examples of differences in the vocal in verse 1: the mono vocal [a] has "and now these days" while the stereo vocal [b] [c] has "but now these days"; on the line "I've changed my mind" the mono vocal has the words evenly while the stereo has them run together. A mnemonic is that "I've opened up the doorS" ending S appears in Stereo and "door" in mono.

105

Lewisohn has commented that these are different mixes of the same recording. Both mono and stereo have double track lead vocals, so it's likely they do not exist on the same tape at all, but were made by adding vocals to the same basic tracks. Bootlegs of the session tapes, if they are mixed honestly, show that take 9 has 4 tracks of which two have the basic (1) bass and drums and (2) guitars. The stereo mix derives from adding two vocal tracks, one of which also has tambourine, and then mixing that down and adding a guitar dub in take 12. For the mono mix, take 12 was copied over with the guitar dub but no vocals, losing the tambourine in the process, and then two new vocal tracks were added. (Much of this is from Luke Pacholski.) This supposes there is a take not recorded by Lewisohn, but clearly there is some gap in the written record here. The original film print of Help! has a mono mix made April 18 using the same vocal as the June 18 mono mix, and with no tambourine. It has a different intro, however, not as clear as the one used on all mixes on disk. The intro on [a] therefore appears to belong to the "stereo vocal" take. In fact [a] may have a mono reduction of [b] edited to it as the intro; the mono and stereo mixes were made the same day. But then why the different vocal track all the way on [b]? Error, or avoiding an edit on the "less important" stereo mix? On the Capitol albums MAS 2386 and SMAS 2386, and on (US) Apple SKBO-3403, the song is preceded by a short instrumental version of the James Bond Theme, or something similar to it, which is banded as if part of the song but separated by a pause. This is not part of the song and not the Beatles.

DIZZY MISS LIZZIE


basic recording- 10 May 1965 additional recording- none master tape- 4 track

[a] mono 10 May 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. [b] stereo 10 May 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

[a] fades a little earlier. [c] has a lot of reverb added to the vocal, making it the most variant of the CD remixes for this album.

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BAD BOY
basic recording- 10 May 1965 additional recording- none master tape- 4 track

[a] mono 10 May 1965. US: Capitol T 2358 Beatles VI 1965. UK: Parlophone PMC 7016 Collection of Oldies 1966. [b] stereo 10 May 1965. US: Capitol ST 2358 Beatles VI 1965. UK: Parlophone PCS 7016 Collection of Oldies 1966, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. CD: EMI CDP 7 90043 2 Past Masters 1 1988.

[a] has bass and drums mixed louder. (Curious fact: this song was available in the US for about a year and a half before the rest of the world including the UK. It's not the only song released first in the US, as some others from the Help! and Revolver albums in progress were sent out to fill in Capitol's albums, but this is the only case where the song wasn't actually used for the UK album.)

[ BBC radio, The Beatles Invite You to Take a Ticket to Ride ]


basic recording- 26 May 1965 at BBC Piccadilly Studios additional recording- none master tape- mono

segment, Dizzy Miss Lizzie [a] mono 1994. edited. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

segment, Ticket to Ride [a] mono 1994. edited. CD: EMI CDP 8 31796 2 Live at the BBC 1994.

This special show of 7 Jun 1965 (misdated as 6 Jun in the notes of Live at the BBC) was the Beatles' last for the BBC. Live at the BBC uses the second and longer of the two takes of Ticket to Ride heard on the show (the first omitted the second bridge and last verse).

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I'VE JUST SEEN A FACE


basic recording- 14 Jun 1965 additional recording- 14 Jun 1965 master tape- 4 track

[a] mono 18 Jun 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 18 Jun 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

A voice can just be heard in the decay at the end of the song in mono [a] but not in [b] or [c]. The new mix [c] has reverb not found in [a] or [b]. Capitol added an unusual amount of echo to the mono mix [a].

I'M DOWN [outtake]


basic recording- 14 Jun 1965 additional recording- none master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Live take, with space in the arrangement for overdubs never done.

I'M DOWN
basic recording- 14 Jun 1965 additional recording- 14 Jun 1965 master tape- 4 track

[a] mono 18 Jun 1965. UK: Parlophone R5305 single 1965, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5476 single 1965. CD: EMI single 1989. [b] stereo 18 Jun 1965. UK: Parlophone PCSP 719 Rock and Roll Music 1976. 108

US: Capitol SKBO-11537 Rock and Roll Music 1976. CD: EMI CDP 7 90043 2 Past Masters 1 1988. During the guitar break in stereo [b], a second, different lead guitar can just be heard as a leak or echo on the mostly silent right channel. Some accounts refer to an "alternate" stereo mix from Japan with two lead guitars, but a tape (allegedly) of that shows it to be the usual stereo version.

YESTERDAY [outtake]
basic recording- 14 Jun 1965 master tape- 4 track additional recording- none

[a] mono 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

No string quartet. Listed as stereo on Anthology 2 but all the sound is mixed to center.

YESTERDAY
basic recording- 14 Jun 1965 additional recording- 14 Jun 1965 master tape- 4 track

[a] mono 17 Jun 1965. UK: Parlophone PMC 1255 Help! 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5498 single 1965, Capitol T 2553 Yesterday & Today 1966. CD: EP Box set 1991. [b] stereo 18 Jun 1965. UK: Parlophone PCS 3071 Help! 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2358 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 19621966 1993.

The mono [a] shows an echo effect in the first bridge on "thing wrong, now I long for yesterday", nowhere else, which also sounds somewhat different from the rest of the

109

vocal in [b] and [c]. George Martin has said this song has no doubletracking but does have leakage from studio speakers (at an unspecified point). A squeak--a bow accidentally touching a violin?-- is heard in verse 1 before the quartet start to play, at left between "I believe" and "in yesterday", in both [b] and [c], but is not audible in mono [a]. A second accident, a plink during the decay at the very end, is heard in [a] and [b] but not [c].

IT'S ONLY LOVE [outtakes]


basic recording- 15 Jun 1965 additional recording- none master tape- 4 track

[a] mono 1995. edited.

Take 3 false start followed by take 2.

IT'S ONLY LOVE


basic recording- 15 Jun 1965 additional recording- 15 Jun 1965 master tape- 4 track

[a] mono 18 Jun 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2442 Rubber Soul 1965. CD: EP Box set 1991. [b] stereo 18 Jun 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

Double track on the first "It's only love" line sounds different in [c]; it appears to have been "fixed" by splicing from the second chorus.

110

ACT NATURALLY
basic recording- 17 Jun 1965 additional recording- none master tape- 4 track

[a] mono 18 Jun 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol 5498 single 1965, Capitol T 2553 Yesterday & Today 1966. CD: EP Box set 1991. [b] stereo 18 Jun 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Yesterday & Today 1966. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

WAIT
basic recording- 17 Jun 1965 additional recording- 11 Nov 1965 master tape- 4 track

[a] mono 15 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 15 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

[ABC TV, Blackpool Night Out of 1 Aug 1965]


basic recording- 1 Aug 1965 at ABC Theater, Blackpool additional recording- none master tape- mono

segment, I Feel Fine

111

[a] mono 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

segment, Ticket to Ride/Yesterday/Help! [a] mono 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Broadcast live before an audience.

[ Shea Stadium concert ]


basic recording- 15 Aug 1965 at Shea Stadium, New York additional recording- none. master tape- mono

[a] mono 1965. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Segment used has Everybody's Trying to Be My Baby. Recorded on a film soundtrack, "The Beatles at Shea Stadium" made by NEMS Enterprises.

[ Hollywood Bowl concert 2 ]


basic recording- 29 Aug 1965 at Hollywood Bowl, Los Angeles additional recording- none master tape- 3 track

[a] stereo Jan 1977 at AIR, London. edited. UK: Parlophone EMTV 4 At the Hollywood Bowl 1977. US: Capitol SMAS-11638 At the Hollywood Bowl 1977. [b] stereo 1995. edited. CD: Apple C2 8 58544 2 Real Love 1996.

Segments used in [a] contain: Dizzy Miss Lizzie [from start of first guitar solo]; Ticket to Ride; intro to A Hard Day's Night; Help! [except intro]. The notes on At the Hollywood Bowl report all these as from the Aug 30 show. The segment used for [b] is just the intro talk to Baby's in Black.

112

[ Hollywood Bowl concert 3 ]


basic recording- 30 Aug 1965 at Hollywood Bowl, Los Angeles additional recording- none master tape- 3 track

[a] stereo Jan 1977 at AIR, London. edited. UK: Parlophone EMTV 4 At the Hollywood Bowl 1977. US: Capitol SMAS-11638 At the Hollywood Bowl 1977. [b] stereo 1995. edited. CD: Apple C2 8 58544 2 Real Love 1996.

Segments used for [a] contain: Twist and Shout; She's a Woman; Dizzy Miss Lizzie [up to start of first guitar solo]; Can't Buy Me Love; A Hard Day's Night [except intro]; intro to Help!. The segment used for [b] contains: Baby's in Black.

RUN FOR YOUR LIFE


basic recording- 12 Oct 1965 additional recording- 12 Oct 1965 master tape- 4 track

[a] mono 9 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 10 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

A thump during the instrumental break-- possibly someone hitting a microphone-- has been removed in [c].

NORWEGIAN WOOD [outtake]


basic recording- 12 Oct 1965 additional recording- none master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996. 113

This was in the Abbey Road show in 1983 and has been bootlegged in stereo in the Ultra Rare Trax material in 1988.

DRIVE MY CAR
basic recording- 13 Oct 1965 additional recording- 13 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. CD: EP Box set 1991. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2553 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. [b1] mono made from [b], by Capitol. US: Capitol T 2553 Yesterday & Today 1966. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The lead vocal is far right in stereo [b], right center on [c]. The cowbell track in stereo [b] is heard during each verse except in the last line, between lines of the refrain, in the instrumental break, and in the fadeout. In mono [a] it is much softer and seems to be missing completely during the fadeout. Capitol mono T 2553 is not mix [a] and must have been combined from stereo [b]. In the CD mix [c] the vocal is moved to right center, leaving the cowbell and guitar track far right, and the cowbell is heard continuously through the refrain, evidence that the track is being faded during vocal lines in [b]. Reports of a different mono mix with the piano much softer, on UK Parlophone GEP 8952 Nowhere Man (EP) 1965 (see the book Every Little Thing for example), are mistaken, but perhaps "piano" is a transcription error for "cowbell" since the EP with [a] does differ from Capitol mono with [b1].

114

DAY TRIPPER
basic recording- 16 Oct 1965 additional recording- 16 Oct 1965 master tape- 4 track

[a] stereo 26 Oct 1965. US: Capitol ST 2553 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. Australia: Parlophone PCSO 7534 Greatest Hits 2 1967. [b] mono 29 Oct 1965. UK: Parlophone R5389 single 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5555 single 1965, Capitol T 2553 Yesterday & Today 1966. CD: EMI single 1989. [c] stereo 10 Nov 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The two stereo mixes differ noticeably. The lead guitar intro in [a] starts left and jumps to the right when the other instruments come in; in [c] it starts in both channels instead, apparently by ADT (artificial double tracking). As the ending begins, after the first "day tripper!", [a] reveals an off-mike "yeah" by John, while [c] has a partially successful attempt to fade out the word. On both the stereo mixes, the lead guitar track suddenly goes silent twice around 1:501:55, to cover a tape or recording problem. The first spot is after the first "tried to please her" line, where, with no vocal, one side of the mix just goes dead silent, and the second spot is under the second "tried to please her". A bootleg of the whole take reveals a squeaky tape noise at the first spot and some problem with the guitar sound for more than 10 seconds thereafter (possibly this section is a drop-in, recorded over the original sound on the track). The mono mix [b] has this all fixed somehow; there the guitar may have been dubbed in from another verse or take. TM Century, which presses CDs for radio station play in the US, put out a sampler in 1990 with a stereo version that has the first dropout fixed. This is not a new mix but their own edit. It is apparently mix [c] with a small edit piece copied from elsewhere in [c]. This is not an official edit, nor was the record released for sale.

115

IF I NEEDED SOMEONE
basic recording- 16 Oct 1965 additional recording- 18 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2553 Yesterday & Today 1966. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2553 Yesterday & Today 1966. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

IN MY LIFE
basic recording- 18 Oct 1965 additional recording- 22 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 19621966 1973. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The new CD mix [c] differs from [b] several ways. Both have the lead vocal mixed far right, but a heavy reverb added to [c] is mixed center, sounding almost like a double track vocal. A breath is heard before the vocal starts in [b], the drum is louder in the verses in [b], and a plink in the decay of the guitar, left, at the end of the song is not heard in [c]. The end of the piano solo is faded away slightly better in [c].

116

WE CAN WORK IT OUT


basic recording- 20 Oct 1965 additional recording- 20,29 Oct 1965 master tape- 4 track

[a] mono 29 Oct 1965. UK: Parlophone R5389 single 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5555 single 1965, Capitol T 2553 Yesterday & Today 1966. CD: EMI single 1989.

[b] stereo 10 Nov 1965. US: Capitol ST 2553 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. Australia: Parlophone PCSO 7534 Greatest Hits 2 1967. [c] stereo 10 Nov 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

In stereo [b], the harmonium is moved around: it's to the right during the verses, but to center during the refrains and bridges, and it even drifts to the right in mid-bridge ("fussing and fighting") and end of bridge. By contrast, in [c] it just stays to the right. But then again, at the very end, [b] reveals there are two harmonium tracks. Stereo [c] has reverb added to the vocals in places, especially the bridge.

NORWEGIAN WOOD
basic recording- 21 Oct 1965 additional recording- 21 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973.

117

US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 19621966 1973. [c] stereo or mock stereo, date unknown. UK: Parlophone PCSP 721 Love Songs 1977, Parlophone PCS 7214 Ballads 1980. US: Capitol SKBL 11711 Love Songs 1977. [d] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

[a] has a pair of cough sounds after "to sit anywhere", mixed out on the others. A stereo mix on bootleg shows this to be George, since it is on the isolated sitar track. Also on that track is a spoken "sounds good" (second word indistinct) just as the vocal begins "she told me she works...", and that is also barely audible in mono [a] only. [c] has the vocal track in the center of the mix, while it is far right in [b] [d]. EMI staff say [c] was not newly made in 1977. Is it just a nicely processed mono mix?

NOWHERE MAN
basic recording- 22 Oct 1965 additional recording- 22 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol 5587 single 1966, Capitol T 2553 Yesterday & Today 1966. CD: EP Box set 1991. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2553 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993..

The original stereo mix [b] has all sound either far left or far right. The new CD mix [c] has rhythm (drums, bass, rhythm guitar) at left center and only lead guitar at far left; the lead guitar moves to far right for solo as in [b]. [c] has John's lead vocal at right center and his second vocal with the others at far right.

118

Paul refers to the guitars as extremely trebly in the interview in Lewisohn's Recording Sessions. The only release that seems to show this is the MFSL half-speed master cassette tape.

I'M LOOKING THROUGH YOU [outtake]


basic recording- 24 Oct 1965 additional recording- 24 Oct 1965 master tape- 4 track

[a] mono 25 Oct 1965. CD: Apple CDP 8 34448 2 Anthology 2 1996.

This was in the Abbey Road show in 1983, and mixed in stereo for the Sessions album, and has been bootlegged in a different stereo mix in the Ultra Rare Trax material of 1988.

MICHELLE
basic recording- 3 Nov 1965 additional recording- 3 Nov 1965 master tape- 4 track 2d generation

[a] mono 9 Nov 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 9 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 19621966 1973. [c] mono 15 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965, Parlophone PMC 7016 Collection of Oldies 1966. CD: EP Box set 1991. [d] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

[a] has louder percussion than [b], and fades a little longer.

119

WHAT GOES ON
basic recording- 4 Nov 1965 additional recording- 4 Nov 1965 master tape- 4 track

[a] mono 9 Nov 1965 UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol 5587 single 1966, Capitol T 2553 Yesterday & Today 1966. [b] stereo 9 Nov 1965 UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2553 Yesterday & Today 1966. [c] stereo 1987 CD: EMI CDP 7 46440 2 Rubber Soul 1987.

In the closing guitar work, [b] [c] have a short probable overdub that improves the ending as heard in [a]. Ringo's off-mike singing during the break and at the ending is easier to hear in the stereo mixes.

12-BAR ORIGINAL [outtake]


basic recording- 4 Nov 1965 additional recording- none master tape- 4 track

[a] stereo 1995. edited CD: Apple CDP 8 34448 2 Anthology 2 1996.

On Anthology 2, this was edited down to less than half the recorded length. The complete take has been bootlegged in stereo.

THINK FOR YOURSELF


basic recording- 8 Nov 1965 additional recording- 8 Nov 1965 master tape- 4 track

[a] mono 9 Nov 1965 UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965.

120

[b] stereo 9 Nov 1965 UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987 CD: EMI CDP 7 46440 2 Rubber Soul 1987.

THE WORD
basic recording- 10 Nov 1965 additional recording- 10 Nov 1965 master tape- 4 track

[a] mono 11 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 11 Nov 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 15 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965. [d] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

[b] must be the rejected Nov 11 mix: not only does it not sound as good, but surely Parlophone uses the correct mix, and the new CD mix [d] was made to sound like [c]. The lead vocal is doubletracked in [b] but single in the other stereo versions and in mono. In all stereo versions, the main instrumental track is left and the first vocal track is right. In the rejected mix [b], the track with bass, maracas and falsetto harmony (last 2 refrains) is mixed left with the other instruments, while the track with the second vocal track is mixed right; in the later mixes [c] [d] those two tracks have been mixed to the opposite sides. [c] and [d] have extreme separation between the stereo channels.

I'M LOOKING THROUGH YOU


basic recording- 10 Nov 1965 additional recording- 10,11 Nov 1965 master tape- 4 track

[a] mono 15 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 15 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965.

121

[b1] stereo, untrimmed. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

[b] fades earlier than [a]. [b1] begins with two false starts on guitar, evidently trimmed off [b]. The CD mix [c] moves Paul's vocal closer to the center. At 1:34 the second note of the third "blat blat" (organ?) suddenly is mixed center instead of to the right like all its other notes, on CD [c] only.

YOU WON'T SEE ME


basic recording- 11 Nov 1965 additional recording- 11 Nov 1965 master tape- 4 track

[a] mono 15 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. CD: EP Box set 1991. [b] stereo 15 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965. US: Capitol ST 2442 Rubber Soul 1965. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987.

[b] fades slightly earlier than [a].

GIRL
basic recording- 11 Nov 1965 additional recording- 11 Nov 1965 master tape- 4 track

[a] mono 15 Nov 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 15 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973.

122

US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 19621966 1973. [c] stereo 1977. UK: Parlophone PCSP 721 Love Songs 1977. US: Capitol SKBL11711 Love Songs 1977. [d] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

[c] has the vocal track in the center of the mix.

123

1966
TOMORROW NEVER KNOWS [outtake]
basic recording- 6 Apr 1966 additional recording- 6 Apr 1966 master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Presented at relatively low volume on Anthology 2: crank it up to hear why Lewisohn called it "heavy metal", or wonder how it was mixed for him.

TOMORROW NEVER KNOWS


basic recording- 6 Apr 1966 additional recording- 6,7,22 Apr 1966 master tape- 4 track

[a] mono 6 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966, matrix XEX 606-1. [b] mono 6 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [c] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] is extremely rare, and is believed to have been manufactured on only the first day of UK pressing. Most copies have matrix 606-2 or 606-3 on side B, and are the standard version heard on all copies of other countries' pressings. [a] is mono remix 11 while the standard version is remix 8. In the rare [a], the vocal is louder and clearer over the effects, the fade is slightly longer and has more piano, and the effects are faded up quite differently (whereas [b] and [c] are pretty similar). The similarity in the tape loop effects in [b] and [c] suggest that they were recorded into one of the 4 tracks of the master. The general trend is that in mono the transition is faster, so sound comes up to full volume almost suddenly and then goes completely out. Mono

124

[b] starts with the loop track at full volume while stereo [c] fades in on it. The guitar sound in the break sounds more processed and full in mono [b]. At the start of the second vocal section stereo has a feedback whistle in "love is all and love is everyone" while [b] does not.

GOT TO GET YOU INTO MY LIFE [outtake]


basic recording- 7 Apr 1966 additional recording- none master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

GOT TO GET YOU INTO MY LIFE


basic recording- 8 Apr 1966 additional recording- 11 Apr, 18 May, 17 Jun 1966 master tape- 4 track 2d generation

[a] mono 17,20 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] has a noticeably longer fade (8 seconds) that helps, and louder bass and percussion. The brass sound on mono [a] was augmented on June 20 by lifting brass sound from the master and overdubbing onto the mix done on June 17. This overdub, being on the mix tape, was not done in stereo [b]. [a] and [b] have different vocals at the fade, the line "every single day of my life", which may be the use of different vocal tracks of the doubletracking.

LOVE YOU TO
basic recording- 11 Apr 1966 additional recording- 11,13 Apr 1966 master tape- 4 track 2d generation 125

[a] mono 13 Apr 1966. edited. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 21 Jun 1966. edited. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] has a much longer fade, by 13 seconds. The edit is of mixes with and without ADT, details not given in Lewisohn-- curiously both mixes are done that way.

PAPERBACK WRITER
basic recording- 13 Apr 1966 additional recording- 13,14 Apr 1966 master tape- 4 track

[a] mono 14 Apr 1966. UK: Parlophone R5452 single 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5651 single 1966. CD: EMI single 1989. [b] stereo 31 Oct 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. [c] stereo 31 Oct 1966. US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1962-1966 1973.

The mono mix [a] is more powerful, with louder drums and a compressed dynamic range. Ringo's drum tapping during the a capella "paperback writer" can be heard a little in mono [a], fading up a few taps before the guitars come back in. The backup vocal track is unusually "dirty", and in stereo [b] [c] unintended sound can be heard at a few points-particularly, before the last "paperback writer" (about 1:45), a hrrmph and then very quiet tries at the right note (earlier in the song, a miscue starting the second group of "Frere Jacques" is noticeable even in mono). Mono [a] has more echo, notably a long "write write write" after the last verse. Lastly, the mono mix fades later, after the 6th "paperback writer" instead of near the start of the 5th one. [b] and [c] are probably two of three stereo mixes made the same day. The obvious difference is that left-right is reversed, and the only other difference noted is that [c] has the backing vocals a little louder. It could be they are the same mix with both stereo reversal and a slight change in balance that makes the side with the backup vocals louder.

126

RAIN
basic recording- 14 Apr 1966 additional recording- 14,16 Apr 1966 master tape- 4 track 2d generation

[a] mono 16 Apr 1966. UK: Parlophone R5452 single 1966, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5651 single 1966. CD: EMI single 1989. [b] stereo 2 Dec 1969. US: Apple SW-385 Hey Jude 1970. CD: EMI CDP 7 90044 2 Past Masters 2 1988.

The master tape has backwards vocals at the end, overdubbed from another take -- the backwards line has "when the rain comes", but this take, forwards, has "if the rain comes".

DOCTOR ROBERT
basic recording- 17 Apr 1966 additional recording- 19 Apr 1966 master tape- 4 track

[a] mono 12 May 1966. edited. US: Capitol T 2553 Yesterday & Today 1966. [a1] mock stereo made from [a] 1966, by Capitol. US: Capitol ST 2553 Yesterday & Today 1966 first issue. [b] stereo 20 May 1966. edited. UK: Parlophone PCS 7009 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987. [c] stereo 20 May 1966. edited. US: Capitol ST 2553 Yesterday & Today some later issues, c.1973. [d] mono 21 Jun 1966. edited. UK: Parlophone PMC 7009 Revolver 1966.

The editing removed 43 seconds of the song in all four cases. At the very end of the fade, US mono [a] seems to reach the true end of the song, and then has John (?) saying "OK Herb" (?), which is not even on the mock stereo made from it [a1]. The "well well well" parts are also mixed differently here than on the other mixes.

127

The UK mono [d] seems to have the vocal mixed louder than [a], but perhaps it is better to say the guitar backing is quieter during the verses, while the vocal and rhtyhm section is more powerful. The "some later issues" of Yesterday & Today that have the US stereo mix are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue. The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs.

AND YOUR BIRD CAN SING [outtake]


basic recording- 20 Apr 1966 additional recording- 20 Apr 1966 master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

This shows an unusable vocal overdub onto an alternate take.

TAXMAN
basic recording- 21 Apr 1966 additional recording- 21,22 Apr, 16 May 1966 master tape- 4 track 2d generation

[a] mono 21 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 21 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987. [c] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Two sections were added later: the slow countdown intro, and the repeat of the same guitar solo at the ending. While Lewisohn calls them edits, they seem to be overdubs from a second tape deck instead, since both overlap original sound-- a faster, quieter

128

countdown, and the last word of the lyric. This is similar to the backward vocal overdubs on Rain. The mono mix [a] is more powerful, with all the instrumental tracks louder. The cowbell, which is not loud in either mix, starts after "5 per cent appear too small" in mono [a] and later, at "I'm the taxman" in the second refrain, in stereo [b]. The guitar is a little louder in the countdown intro in [a]. The Anthology 2 mix [c] is deliberately different. It has the intro edited on (done June 21 on the original mixes), but otherwise shows the state as of April 21, without the cowbell and with a different backing vocal at the "Mr Wilson" and "Mr Heath" lines, with some guitar in the first verse mixed out elsewhere, and with the real ending. The real countdown intro is more easily heard since it and the main instrumental tracks are mixed to the left.

AND YOUR BIRD CAN SING


basic recording- 26 Apr 1966 additional recording- 26 Apr 1966 master tape- 4 track

[a] mono 12 May 1966. edited. US: Capitol T 2553 Yesterday & Today 1966. [a1] mock stereo made from [a] 1966, by Capitol. US: Capitol ST 2553 Yesterday & Today 1966 first issue, some later issues. [b] stereo 20 May 1966. edited. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2553 Yesterday & Today some later issues, c.1973. CD: EMI CDP 7 46441 2 Revolver 1987.

[c] mono 6,8 Jun 1966. edited. UK: Parlophone PMC 7009 Revolver 1966.

The editing adds the instrumental ending from a different take. Of the mono mixes, [a] has louder handclaps than [c], and the guitars seem to drop a little more in volume during the verses in [c]. The "some later issues" of Yesterday & Today that have stereo are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT-2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue.

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The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs.

I'M ONLY SLEEPING


basic recording- 27 Apr 1966 additional recording- 29 Apr, 5,6 May 1966 master tape- 4 track

[a] mono 12 May 1966. US: Capitol T 2553 Yesterday & Today 1966. [a1] mock stereo made from [a] 1966, by Capitol. US: Capitol ST 2553 Yesterday & Today 1966 first issue. [b] stereo 20 May 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol SHAL-12060 Rarities 1980. CD: EMI CDP 7 46441 2 Revolver 1987. [c] stereo 20 May 1966. US: Capitol ST 2553 Yesterday & Today some later issues, c.1973. [d] mono 6 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966.

The backwards guitar effect is heard in different places in the four mixes, and a lead guitar track is mixed differently throughout the solo and at the end. An alleged fifth mix, the "French EP", is just [d].

verse 1: no backwards guitar (BG) on any mix verse 2: [a] no BG [b] BG on "everywhere at such a speed" and "find there's no need" [c] BG on "running everywhere at such a speed" and "till they find there's no need" [d] BG on "where at such a speed" and "there's no need" verse 3: [a] BG on "time" and "ceiling" [b][c] no BG [d] BG on "staring at the ceiling" solo: [a] guitar continues into words "please don't" at end of solo [b][d] guitar ends at end of solo [c] guitar fades in 2 bars later, continues into "please" verse 4: no BG on any mix

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end: [a] guitar starts 4 beats after the last word "sleeping" [b][c][d] guitar starts immediately after last word "sleeping"

The "some later issues" of Yesterday & Today that have the US stereo mix are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue. The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs.

I'M ONLY SLEEPING [outtakes]


basic recording- 29 Apr 1966 additional recording- none master tape- 4 track

rehearsal [a] mono 29 Apr 1966. CD: Apple CDP 8 34448 2 Anthology 2 1996.

second take 1 [a] mono 29 Apr 1966. CD: Apple CDP 8 34448 2 Anthology 2 1996.

The sessions for this song overlap the next song. These two outtakes are for a fresh start. They were supposedly mixed to mono during recording.

ELEANOR RIGBY
basic recording- 28 Apr 1966 additional recording- 29 Apr, 6 Jun 1966 master tape- 4 track 2d generation

[a] mono 22 Jun 1966. UK: Parlophone R5489 single 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5715 single 1966, T2576 Revolver 1966. CD: EMI single 1989.

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[b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2576 Revolver 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. CD: EMI CDP 7 46441 2 Revolver 1987, EMI CDP 7 97036 2 The Beatles 19621966 1993. [c] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

The ADT in stereo [b] continues into "Elean" in 1st verse, a really glaring mistake. The lead vocal, perhaps too prominent in both [a] and [b], sounds stronger in mono [a]. The Anthology mix [c] omits the vocals, and remixes the string tracks.

FOR NO ONE
basic recording- 9 May 1966 additional recording- 9,16,19 May 1966 master tape- 4 track 2d generation

[a] mono 21 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 21 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

The vocal comes across louder in mono [a].

YELLOW SUBMARINE
basic recording- 26 May 1966 additional recording- 26 May, 1 Jun 1966 master tape- 4 track 2d generation

[a] mono 3 Jun 1966. UK: Parlophone R5489 single 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5715 single 1966, Capitol T 2576 Revolver 1966. CD: EMI single 1989.

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[b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCS 7070 Yellow Submarine 1969, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2576 Revolver 1966, Apple SW 153 Yellow Submarine 1969, Apple SKBO-3403 The Beatles 1962-1966 1973. CD: EMI CDP 7 46441 2 Revolver 1987, EMI CDP 7 46445 2 Yellow Submarine 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. [b1] mono made from [b] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. [c] stereo 1995. CD: Apple C2 8 58544 Real Love 1996.

The guitar comes in right away in mono [a] but after "in the town" in stereo [b]. At the start of verse 3, a splash sound effect is faded away quickly in mono [a] as the vocal starts, but continues over "and we live a life" in [b]. John is heard repeating the vocal after the first line of verse 3 ("life of ease") in mono [a] but not until the next line ("all we need") in [b]. The last line of verse 3 sounds like "in our yellow clubmarine" in mono [a] but "slubmarine" in [b]. The official lyric is just "submarine". [c] is deliberately different, and starts by fading into an intro not used elsewhere before a hard edit to the standard version. The first guitar strum is missing as in [b]. The mix inverts [b] by having the vocal and rhythm tracks centered, and the sound effects, including some not heard elsewhere, to the left and right and relatively louder. John's "life of ease" is heard in verse 3, and Ringo says "slubmarine".

I WANT TO TELL YOU


basic recording- 2 Jun 1966 additional recording- 2,3 Jun 1966 master tape- 4 track

[a] mono 3 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 21 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

The piano comes through more noticeably in mono.

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GOOD DAY SUNSHINE


basic recording- 8 Jun 1966 additional recording- 8,9 Jun 1966 master tape- 4 track

[a] mono 22 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

The bass drum is missing at the very end in stereo [b].

HERE, THERE AND EVERYWHERE [outtake]


basic recording- 16 Jun 1966 additional recording- 16 Jun 1966 master tape- 4 track

[a] stereo 1995. edited. CD: Apple C2 8 58544 Real Love 1996.

An earlier take, in mono, but near the end tracks of the standard take are added in stereo to provide backing vocals and (unavoidably) some percussion.

HERE, THERE AND EVERYWHERE


basic recording- 16 Jun 1966 additional recording- 16,17 Jun 1966 master tape- 4 track 2d generation

[a] stereo 21 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987. [b] mono 21 June 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966.

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In the last line the lead voice is "You'll be there, and everywhere". In mono [b] the backing voice is heard to sing "I'll be there" instead, not audible in [a] but possibly there very softly. The vocal backing is missing in mono [b] on the last chord.

SHE SAID SHE SAID


basic recording- 21 Jun 1966 additional recording- 21 Jun 1966 master tape- 4 track 2d generation

[a] mono 22 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. [b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: EMI CDP 7 46441 2 Revolver 1987.

The mono mix [a] seems more powerful, although the rhythm track can be heard fading down during vocal lines and back up in between.

[ Nippon Budokan Hall concert ]


basic recording- 30 Jun 1966 at Nippon Budokan Hall, Tokyo additional recording- none master tape- mono

[a] mono 30 Jun 1966. CD: Apple CDP 8 34448 2 Anthology 2 1996.

From a videotape made by NTV of Japan. Both video and audio of this have long been available on bootleg. Segments used contain: Rock and Roll Music, She's a Woman.

STRAWBERRY FIELDS FOREVER [demos]


basic recording- Nov 1966 additional recording- none master tape- mono 135

[a] mono Nov 1966. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Two home demos.

STRAWBERRY FIELDS FOREVER [outtake]


basic recording- 24 Nov 1966 additional recording- 24 Nov 1966 master tape- 4 track

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Take 1. Backing vocals in verse 3, heard in bootlegs, were mixed out for Anthology 2.

STRAWBERRY FIELDS FOREVER


basic recording- 29 Nov 1966 and 8 Dec 1966 additional recording- 29 Nov 1966 and 8,9,15,21 Dec 1966 master tape- 4 track 2d and 3d generation

[a] mono 22 Dec 1966. edited. UK: Parlophone R5570 single 1967. US: Capitol 5810 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967. CD: EMI single 1989. [b] stereo 29 Dec 1966. edited. US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. UK: Apple PCSP 718 1967-1970 1973. [c] stereo 26 Oct 1971 at AIR. edited. Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971. CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993. [d] mono 29 Nov 1966 and 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

This song is made out of two recordings mixed separately and edited together. The first portion is from take 7 of 29 Nov, a 2d generation 4-track tape containing a reduction from take 6 plus overdubs. For the standard versions [a][b][c], an edit at the silence at 0:55 jumps from the end of verse 1 to a later portion of take 7 containing the

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line "Let me take you down, 'cause I'm". Then, right in mid-phrase at 1:00, it edits into take 26 of 15 Dec for "going to, Strawberry Fields" and on to the end of the song. The Anthology [d] uses an original mono mix of take 7 without the edits and continuing to near the end, where it was crossfaded in 1995 into sound from takes 15 and 24 of 8 Dec. (Take 7 is available in stereo and complete on bootlegs.) The second portion of the standard versions [a][b][c] is from take 26, basically a 2d generation 4-track tape containing a reduction of take 25 plus overdubs, although it also contains drum and percussion tracks recorded as takes 15 and 24. Take 26 was recorded at a faster tempo than in the final mix, and was slowed down during preparation of the combined recording. There may be a slight slide in tape speed right around the join, too. For the Anthology [d], takes 25 and 26 are not used but some of the same percussion from takes 15 and 24 is heard by itself. The infamous spoken "cranberry sauce", actually said twice, is in the percussion track dating from take 24, and both are easily heard in the new mix [d] made for Anthology. The second one is almost cut off at the end of the fade in mono [a], but on the German single (Odeon O 23 436) just a syllable of it can be heard that is missing from known US and UK pressings. Stereo mix [c] had been the only place to hear the second one in full, since [b] cuts off just before it. The newer stereo mix [c] was once known as the German stereo mix and is now the standard CD stereo mix. It has better percussion sound than the older stereo mix [b] and more stereo separation. The older mix [b] has a nice effect at the edit, quickly moving the cello and trumpet track across the image from left to right, where it stays, distracting the listener from the edit itself; in the newer mix [c] this track just starts suddenly on the right. The swordmandel at the start of both verse 2 and 3, which sounds like a harp, moves from left to right in the newer mix [c], while it's just centered in the older one [b]. John counts down the rest before the start of verse 2 and 3, properly mixed out in the older mix [b] but heard in the newer one [c]. The fadeout-fadein near the end goes to a moment of silence in the newer stereo mix [c], but comes back immediately in the others. The newer stereo mix [c] has a slightly longer final fade so we hear a second "cranberry sauce" in the drum track, left. The differences in the two stereo mixes helps in working out what is on the 4 tracks although there are still some questions.

WHEN I'M SIXTY-FOUR


basic recording- 6 Dec 1966 additional recording- 6,8,20,21 Dec 1966 master tape- 4 track 2d generation

[a] mono 30 Dec 1966. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 3653 Sgt Pepper 1967.

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[b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

The tape was speeded up when mixed.

PENNY LANE
basic recording- 29 Dec 1966 additional recording- 29,30 Dec 1966, 4,5,6,9,10,17 Jan 1967 master tape- 4 track 4th generation

[a] mono 17 Jan 1967. US: Capitol 5810 single 1967 promo copies only. [b] mono 25 Jan 1967. UK: Parlophone R5570 single 1967. US: Capitol 5810 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967. CD: EMI single 1989. [b1] mock stereo made from [b] 1967, by Capitol. US: Capitol SMAL 2835 Magical Mystery Tour 1967 [b2] mock stereo made from [b] about 1972, by Capitol. US: Apple SKBO-3404 The Beatles 1967-1970 1973. [c] stereo 30 Sep 1971 at AIR. Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971. Australia: Apple TVSS 8 Essential Beatles 1972. UK: Apple PCSP 718 1967-1970 1973, Parlophone TC-PCS 3077 (cassette) Magical Mystery Tour 1976. US: Capitol SV-12245 20 Greatest Hits 1982. CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993. [c1] stereo from [c] and [a] 1980, by Capitol. US: Capitol SHAL12060 Rarities 1980. [d] stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

The vocal and main instrumental material seem to have been mixed down to mono by the time the fourth generation (!) tape was created, so variations are limited to the various horns and other effects (bells, bowed bass) on the other tracks of the master... that is, until the Anthology. The first mix [a], used on the US promo single, has an extra trumpet at the end, deliberately mixed out in later mixes [b] [c]. The stereo mix [c] has a extra trumpet after

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"clean machine", not heard in the mono mixes. [c1] is a forgery made by mixing the trumpet sound from [a] onto the stereo mix [c]. The beginning fades up in mono [b], but in stereo [c] [d] it starts suddenly on a couple of bass notes lost in [b]. All mixes seem to lose the first word of the vocal ("In Penny Lane...") or perhaps it is not there. Mock [b2] may also be on later issues of Capitol SMAL 2835, and the later UK release of the Magical Mystery Tour LP. It has less extreme bass-treble separation. The Brazilian LP Beatles For Ever (Apple 31C 066-04 972) has the phrase "in summer" cut out, for reasons unknown. For the Anthology [d], all the original tracks from 4 generations were synchronized on one multi-track and then remixed with deliberate differences. Paul's vocal is single tracked, different horn parts are heard, and then from about 2:52 on we have several edits that do not reflect the original recording, and at the end is an out-of-place recording of speech about a "suitable ending".

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1967
A DAY IN THE LIFE
basic recording- 19 Jan 1967 additional recording- 19,20 Jan, 3,10,22 Feb 1967 master tape- 4 track 2d generation + 4 track (2 tapes)

[a] mono 22 Feb 1967. edited. crossfaded 6 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 23 Feb 1967. edited. crossfaded 20 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987. [b1] stereo with crossfade cut off 1973. UK: Apple PCSP 718 The Beatles 1967-1970 1973. [b2] stereo with crossfade cut off 1973 by Capitol. US: Apple SKBO-3404 The Beatles 1967-1970 1973. [b3] stereo without crossfade. CD: EMI CDP 7 90803 2 Imagine/John Lennon 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1993. [c] mono 30 Jan 1967, and mono and stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

The orchestra was recorded on 4 tracks of a separate 4-track tape (take 7) and synchronized during mixing with the Beatles tape (take 6). The edit is for the final note, recorded separately. The crossfade joins the beginning to the preceding Sgt Pepper (reprise). For the 19671970 collection [b1] [b2] and on a 1978 single, the crossfade is just cut off, so the song begins later than its real beginning. The original mix without crossfade [b3] appeared in the documentary film Imagine: John Lennon. The same original mix, also including a countdown that is not heard under the crossfade, appeared in a 1967 promo film. The Anthology mix [c] is deliberately different and contains some material not used in the standard versions [a][b]. It contains many parts edited together: talk before take 1 (the take used for the standard version); take 2 (not the standard version) from start of song through the 24-bar count; overdubs to take 6 later wiped out for the standard version but preserved in a 30 Jan mono mix; more of take 2 for the last verse; take 2 synchronized with the orchestral overdub of the standard version; and finally talk recorded on Feb 10 140

and never intended to be used as the conclusion. All of this is mono until the orchestral overdub, which has been remixed to stereo. The Jan 30 overdub mono mix has been available on bootleg since 1987, and shows a different bass part throughout as well as the different Paul vocal highlighted here; but it breaks down after Paul flubs the vocal. The reverb on the 24-bar count was done during recording.

SGT PEPPER'S LONELY HEARTS CLUB BAND


basic recording- 1 Feb 1967 additional recording- 1,2 Feb, 3,6 Mar 1967 master tape- 4 track 2d generation

[a] mono 6 Mar 1967. crossfaded 6 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 6 Mar 1967. crossfaded 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 19671970 1973. US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 19671970 1973. CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

The crossfade joins this song to With a Little Help From My Friends. The lead guitar starting around "I don't really want to stop the show" is louder in mono [a], barely there in [b]. The crowd noise differs between the two and the crossfade is less well hidden in mono [a].

GOOD MORNING GOOD MORNING


basic recording- 8 Feb 1967 additional recording- 16 Feb, 13,29 Mar 1967 master tape- 4 track 2d generation

[a] mono 19 Apr 1967. edited. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 6 Apr 1967. edited. UK: Parlophone PCS 7026 Sgt Pepper 1967.

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US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987. [c] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

An Apr 6 mono mix was replaced by an Apr 19 mix [a] containing an improved blend of the hen cluck at the end into the first note of the next song, Sgt Pepper (reprise). Lewisohn does not say when or if the Apr 6 stereo mix was redone, and perhaps it was not. Checking the ending shows that the sound effects match in mono [a] and stereo [b] until the foxhunt, where the mono fades earlier, so that the hunt lasts about 6 seconds longer in stereo and continues past the somewhat later fadeout of the music. This may be the end of the main tape. Because of the early fade in mono [a], "Good morning good morning good" is heard only 9 times as against 10 times in stereo [b]. Both mixes then crossfade to the chicken squawk on what appears to be a separate tape, since unlike the other sound effects it does not overlap any music. The squawk is slightly longer in stereo, and blends better into the Sgt Pepper (reprise)-- the retry on the mono mix may have been to make it more like the stereo? The lead guitar is mixed down after the break in mono [a] but on [b] it continues loud over "People running round...". After "tea and 'Meet the Wife'" the guitar phrase is treated to a little extra ADT in mono. The Anthology mix [c] is deliberately different and appears to show the state as of Feb 16, after the vocal and bass overdub, but without the horns and the sound effecs at the end.

FIXING A HOLE
basic recording- 9 Feb 1967 at Regent Sound additional recording- 9 Feb at Regent Sound, 21 Feb 1967 master tape- 4 track 2d generation

[a] mono 21 Feb 1967. edited. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

The mono is two mixes edited together. The mono is a few seconds longer, long fade.

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ONLY A NORTHERN SONG


basic recording- 13 Feb 1967 additional recording- 14 Feb, 20 Apr 1967 master tape- 4 track + 4 track 2d generation (2 tapes)

[a] mono 21 Apr 1967. [a1] mock stereo made from [a] 29 Oct 1968. UK: Apple PCS 7070 Yellow Submarine 1969. US: Apple SW 153 Yellow Submarine 1969. CD: EMI CDP 7 46445 2 Yellow Submarine 1987. [a2] mono made from [a1] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. [b] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

The first generation, take 3, was mixed down to take 12 and overdubs added; then tracks of take 3 were wiped and overdubs added. The mono mix is made from both synchronized, mainly from 12. No attempt was made to make stereo. [a] was used in mono in the original film print of Yellow Submarine. The Anthology mix [b] is also synchronized from tracks on different original tapes, but deliberately has different tracks mixed in, including a different lead vocal; and it is speeded up just over 2 per cent for no stated reason.

BEING FOR THE BENEFIT OF MR KITE! [outtakes]


basic recording- 17 Feb 1967 additional recording- none master tape- 4 track

takes 1 and 2 [a] stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Talk and take 1 (breakdown), edited into talk and take 2 (breakdown), edited into talk before the standard take 7.

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BEING FOR THE BENEFIT OF MR KITE!


basic recording- 17 Feb 1967 additional recording- 17,20 Feb, 28,29,31 Mar 1967 master tape- 4 track 3d generation

[a] mono 31 Mar 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987. [c] stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Mono [a] has more of the organ tape loops in the break after "Henry the horse dances the waltz", perhaps a track not faded up in the mix of [b]? The Anthology mix [c] is deliberately different. First it shows take 7 without the organ and calliope effects, including some John scat vocal during the instrumental break that was mixed out of [a][b], and then it crossfades into the organ and calliope overdub tracks to a fadeout.

LOVELY RITA
basic recording- 23 Feb 1967 additional recording- 23,24 Feb, 7,21 Mar 1967 master tape- 4 track 2d generation

[a] mono 21 Mar 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

Talk just before the end is audible, the last syllables "leave it" (or "believe it"?) being quite distinct in mono [a].

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LUCY IN THE SKY WITH DIAMONDS


basic recording- 1 Mar 1967 additional recording- 1,2 Mar 1967 master tape- 4 track 2d generation

[a] mono 3 Mar 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 19671970 1973. US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 19671970 1973. CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993. [c] stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Mono [a] has quite a bit of "phasing" not in [b]-- phasing is ADT with deliberate tape speed manipulation ("flanging") for a classic pyschedelic effect. Note especially the third "Lucy" line in the first refrain, but it continues, notable again in second refrain and in instrumental part leading to third refrain. Stereo [b] sounds more natural but [a] is evidently what was desired. A new mono mix was made 1 November 1967 for the original Yellow Submarine film print with no vocal in the first part of the first verse, so an actor for the film could be dubbed in, and this also has less phasing. The Anthology mix [c] is deliberately different and sychronizes parts of an outtake with the standard take. It is take 6 (standard version is 7) with a tamboura from take 7 with harmony vocals in the chorus from the standard version take 8. There is no bass.

GETTING BETTER
basic recording- 9 Mar 1967 additional recording- 9,10,21,23 Mar 1967 master tape- 4 track 4th generation

[a] mono 23 Mar 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967.

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[b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

WITHIN YOU WITHOUT YOU


basic recording- 15 Mar 1967 additional recording- 22 Mar, 3 Apr 1967 master tape- 4 track 4th generation

[a] mono 4 Apr 1967. edited. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 4 Apr 1967. edited. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987. [c] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

For both mono and stereo, "part 1" (apparently the first, vocal section) was mixed separately from "parts 2 and 3" (the instrumental and the final vocal part?), and those mixes were edited together. The laughter at the end was also edited on, but [a] and [b] have a different laugh. The Anthology [c] has a remix of the instrumental tracks without the vocal, and no laughter at the end. There are traces of the vocal: for example, listen for "you're only very small" just before the instrumental break, in the left channel, and for the last verse.

SHE'S LEAVING HOME


basic recording- 17 Mar 1967 additional recording- 20 Mar 1967 master tape- 4 track 2d generation

[a] mono 20 Mar 1967. edited. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967.

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[b] stereo 17 Apr 1967. edited. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

A short amount of instrumental work between the verses was removed after the mixing was done, so both mixes are edited. Reverb had been added during mixing, and the edits are a little more obvious in stereo [b], just before Paul starts singing the second and third verses. The two mixes are at different speeds, and we believe stereo [b] was slowed down when mixed (rather than the mono being sped up), partly because the orchestra sounds better in mono [a]. Possibly the tape was made at an off-speed, like many Sgt Pepper songs, and was played for stereo mixing at normal speed?

WITH A LITTLE HELP FROM MY FRIENDS


basic recording- 29 Mar 1967 additional recording- 29,30 Mar 1967 master tape- 4 track 3d generation

[a] mono 31 Mar 1967. crossfaded 6 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. crossfaded 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 717 The Beatles 19671970 1973. US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 19671970 1973. CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

The crossfade joins this to the preceding song, Sgt Pepper, but the songs do not overlap; rather, crowd noise runs from one through to the other. This song starts right before the announcement "Billy Shears!", which is more readily apparent as a change in ambience in mono [a], since louder crowd noise covers the join better in [b].

SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE) [outtake]


basic recording- 1 Apr 1967 additional recording- none master tape- 4 track

147

[a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

On this outtake the band play the additional drumbeats at the beginning as heard in the standard version in mono.

SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE)


basic recording- 1 Apr 1967 additional recording- 1 Apr 1967 master tape- 4 track

[a] mono 1 Apr 1967. edited. crossfaded 6 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 2653 Sgt Pepper 1967. [b] stereo 20 Apr 1967. edited. crossfaded 20 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 2653 Sgt Pepper 1967. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

The crossfade joins this to the following song, A Day in the Life. The edit in mono [a] is better, so the last note hits the first chord of A Day in the Life, while there is a delay in stereo [b]. Mono [a] starts with unknown spoken words not in stereo [b], then both have a countdown with someone saying "bye" (?) behind it, then [a] has more drum beats to start. During the sequence just described, crowd noise in mono [a] starts louder, dies down, then up to a cheer, while crowd noise in stereo [b] stays steady at medium volume- the crowd noise seems to have been added during mixing. Right before the vocal is a "woo", louder in mono [a]. Toward the end in mono [a] Paul is heard shouting unintelligible phrases ("we are the greatest"?, "the band, the one and only band"? among other things) starting near the last "Sgt Pepper's lonely", while in stereo [b] John is heard nearer the end saying something like "hold my guitar for me".

[ EDIT FOR LP END / Sgt Pepper inner groove ]


basic recording- 21 Apr 1967 additional recording- none master tape- 4 track

148

[a] mono 21 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. [b] stereo 21 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SHAL-12060 Rarities 1980. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

This 2 seconds of talk was placed in the inner groove of the Parlophone release. It was dropped for pressings some time after 1978. It is not exactly the same for all pressings due to the runout groove meeting the inner groove at different points in different LP masters. For CD it is repeated into a fadeout.

[ dog cut ]
basic recording- none additional recording- none master tape- none

[a] cut into first mono master disk 28 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. [b] cut into first stereo master disk 1 May 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. [c] generated 1987. CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

On LP this 15 KHz tone is not a recording at all, but was cut mechanically into the master disk after A Day in the Life. The dates shown [a] and [b] are of the first disk cutting for Parlophone in the UK; it was recreated at unknown dates for other master disks, but was never cut into disks by Capitol for US release. For CD it was created electronically in 1987 and put into the master digital tape used for CD production.

MAGICAL MYSTERY TOUR


basic recording- 25 Apr 1967 additional recordin