‘| SHEA qT UES 230Ao Cop a THE THESE WERE THE YEARS OF DASH AND DARING. Sweeping out of B che final (and wonderfully old-fashioned) 1964 family Christmas Shows into EATLES the wider world of 1965, the Beatles would soon find themselves figureheads of a movement far beyond ‘pop’ where 2 counter-culturef AMEN ONS ET alternative society was made flesh. 2 National bound: were to become expanded and many trousers would soon be Spandex jes were presumed to be doomed. Millions of minds ‘ansatlantic Phenomenon, a band whose p The Beatles were now a se with their American contemporaties presumed they could do no wrong, would never fail val Christmas-in £0 the great Melting Pot. music, would always go.on touring, bringing an an Bur in the years covered by this albu = 1965, "66, “67 — though the music would continue to Reason and at sweating stadiums where they now played pour out of them, breaking in great waves over uncharted tertitory, challengin warming the heart, the Beatles would tire of those g to screaming crowds who could no longer hear them. d be forever fresh and which still sec the standards against In the “studio years” (1966 onwards), supported by the steady h great George Martin, they would produce songs which wor tured on by th provided a sound-track for the plottings of cnlightenment (however compromised it may have been by the material world in the harsh times Spirit of the Age and by the “tea-parties” of those times, the Beatles Baby Boomers — millions of them — whose since) still provides a hedge against humankind’s grosse see , rb and transmute so: much, It was the great glory of the Beatles thac they could in those tiny houses in Liverpool, listening to eclectic 1940's wireless, then to Pn'r and r&b and to Dylan and the poets and soon to mui Unafraid of growth, dogged in Beatles accepted each other's offerings and really ‘cooked! to breathless with admiration, “They never stood stil. nd messages from India. viduals with a powerful devotion to the group ethic, ke each record a feast This isa marvellous album, full of geneses and revelations, by brilliant young men.© BM Record Yes It Is (John Lennon, Pes Recorded EMI Studios, London, 16 February 1965 Producer George Martin Engineer Norma Snsith As they had done with A Hard Day’s Night the year before so the Beatles entered into a crash series of recording sessions before shooting their new motion picture (untitled at first but eventually named Help!). Due to fly to the Bahamas on 22 February, the Beatles spent six I from the 15th to the 20th, days at ED taping the HI nunibers they offered up as candidates for the movie soundtrack. Six of these were selected, two went on to the non-soundtrack side of the Help! The Bootes with George Martin afer receiving another album, two remained unissued and this dutch of wards, EM, 16 February 1965 song, Yes It Is, was set aside as the Beside of the Beatles’ next single, Ticket To Ri The first performance of Yes It Is presented here is Take 2, in which John ~ author of the song ~ delivered a guide vocal while attempting, with the other Beatles, to perfect the song’s rhythm track. Because the take broke down it is completed here with a section (in newly remixed and edited form) from the master, Take 14, distinguished by George’s tone-pedal guitar sounds and some fine three-part voeal harmony work by John, Paul and George, emphasising how well the recording blossomed = and how quickly too: the Beatles recorded Yes It Is from start to finish inside five hours. le. i'm Down (ohn lennon, Paul McC trey | Recorded FMI Studios, London, 14 June 1965 Producer George Martins Engineer Norman Srith m Down was written by Paul as a piece of rocking and rollicking good fun, perfect for letting loose the larynx, letting down the hair and closing concerts with if the Beatles fancied an alternative to their usual end-of-show numbers Twist And Shout or Long Tall Sally. Not an album track, I'm Down was issued as the B-side of the Help! single in July, the master being Take 7. Issued here for the first time is Take 1, played live in the studio and, as Paul had wished, turning out “pretty darn good”, Listen closely at the end for Paul’s comment “Plastic soul man, plastic soul”, a phrase which, when slightly altered, became the title of the Beatles’ sixth album, issued in December 1968. You’ve Got To Hi (ohn lennon, Poul McCartney) If You've Got Trouble (Lehn lennon, Paul MeCartnay ) Your Love Away* Recorded FMI Studios, London, 1§ February 1965 Producer George Marti Engineer Norman Smith The fourth day of the Help! sessions was a typically productive one, the Beatles recording three new songs and mixing a number of other titles, The first of the three was John’s all-acoustic You've Got To Hide Your Love Away, taken from conception to completion in less than two hours during the afternoon. The master (Take 9) was distinguished by a flute overdub ~ the first time the Beatles had brought in an outside musician to augment their sound ~ but the version presented here is Take 5, theCs Mae a)Recorded EMI Studios, London, 14 June 1965 Producer Georg Engineer Norman Smith Martin Yesterday attained fame and its everlasting elevated stature thanks principally to Paul’s captivating melody and lyric but also in part because the Beatles” recording featured, innovatively, a string quartet. This was overdubbed (on 17 June) on to Take 2. Issued here for the first time is the only alternate studio recording of the song, Take 1, performed solo by Paul, voice and acoustic guitan (While Paul can be heard instructing chord changes to George Harrison before starting up, George does not appear to be musically evident on the tape.) Paul transposed two lines of the finished master, “There’s a shadow hanging over me*/“I’m not half the man I used to be”, in this first take. fat Publications Ue © Ape Corps / Recorded EMI Studios, London, 15 June 1965 Produeer George Martin Engineer Norner Snuith Issued on the non- pundtrack side of the Help of John’s composition Irs Only Love was Take 6, with a prominent lead guitar overdubbed by George H Take 2 — acoustic guitar, bass, drums and Lennon vocal only — preceded by the false start that was Take 3. album, the master version rrison. The previously unreleased version featured 4 is © Apel CopeTHE BEATLES The opening show of the group’s only 1965 North American tour = in which, for the first time, they mostly played big stadiums - the concert at Shea earned the Beatles world records both for audience attendane pts, and led to a colour TV film, The Beatles At Shea Stadiwmn, made independently by Brian Epstein’s NEMS Enterprises in association with [Ed] Sullivan Productions. It was screened for the first time on 1 March 1966 by the BBC, This recording of Everybody's Trying To Be My Baby — written and first recorded by Carl Perkins in 1958 ~ has been taken from the soundtrack of the unedited Shea film footag: sd from the TV special and so has remained unheard since the concert itself (when, in all likelihood, few of the 55,600 audience would have managed to hear it above their screams). George Harrison sang the lead vocal as he did on the October 1964 Beatles For Sale studio recording. id box-office re for the performance was exci Norwegian Wood (This Bird Has Flown) {ha lennon, Paul McCarey} Recorded EMI Studios, London, 12 October 1965 Producer George Martin Engineer Norman Swit As the Beatles’ music beeame more experimental in nature so they used the recording studio to try out and, if necessary, re-vamp their song ideas ~ rather than, as they had been doing, using the facility to record songs and arrangements with which they were already familiar. With sessions for Rerbber Soul, thei 33 months, the Beatles twice invested considerable time and thought inte recordings that they would leave unissued in favour of re-made versions, one being Norwegian Wood (This Bird Has Flown) and the other I'm Looking Through You. Ticled simply This Bird Has Flown when first aired I's Abbey Road studio, Norwegian Wood (This Bird Has Flown), a John Lennon-Paul McCartney collaboration written mostly by John, was a perfect indication of the new creative d a re-make cut on 21 October 1965, Take 1, an earlier model issued here for the first time, was recorded during the first day of sessions for the new album. Like the ith album in ction towards which Beatles music was headed. The released version was eventual master, it includes a sitar contribution by George Harrison (the first time this Indian instrument was heard in a “pop” song) and also a lead and occasionally double-tracked vocal by John, harmonies from Paul and John, acousti guitar, finger cymbals, maracas and bass guitar. The recording was marked “best” on the tape box and studio log-sheet so, clearly, the Beatles thought that they had made a master, and indeed it remained the preferred take for nine days, until they cut a re-make.17 12-Bar Original Recorded EMI Studios, London, 4 November 1965 Producer George Martin Engineer Nornnave Smith An instrumental recording by the Beatles, their first since signing with EMI in 1962, featuring drums, bass, two electric guitars (with George Harrison adding in). Two takes were jal effects) and a harmonium (played by George Mar tone-pe attempted, the first breaking down, the second complete at a lengthy 6,36 and from which this 2.54 Anthology was intended for Rubber Soul but, certainl dit has been produced. It is not clear if 12-Bar Original , the song was not mixed until the album seording has was bein remained unissued until now. pressed so it was never a serious contender, Indeed, the Tomorrow Never Knows Recorded EMI Studios, Lom on, 6 Apeil 1966 Producer George Martiv Engineer Geoff Emerick The Beatles had worked almost every day for five years when, after issuing the single Day Tripper/We Can Work It Out, the album Rubber Sonl and touring Britain for what turned out to be the last time, they demanded a break from this punishing schedule, taking off the first three months of 1966. Clearly refreshed, and full of yer more innovative ideas, they convened at EMI Studios on 6 April and began work on their seventh album, Revolver, with what turned out to be its closing and most progressive number, Tomorrow Never Knows, Abbey Rood, 19 May 1944: George Harriton withthe Beoies’ manager Brion Epstein Here was Beatles music the like of which had never before been heard ... or made. Here was a dramatic new direction for a musical form that was ceasing to be “pop” and wentive for developing into “rock”. Here was a thrilling orgy of sound, all the more being made within the confines of 1966 four-track technology, less reliant on melody but focusing more on the conveyance of mind-pictures on to tape. Tomorrow Never being as nows is all of this in a single piece of music, the released version (Take 3 cd under its working title Mark I, Take 1, s compelling. stunning now as it was 30 years ago. Record issued here for the first time, is notably different but, in its own way, just The Beatles’ music had indeed come a long way in the four years since Love Me Do.20 21 Taxman [ Geoige Hartson | Recorded EMI Studios, London, 21 April 1966 Producer George Martin Engineer Geoff Emerick The opening title on Revolver, Taxman was George Harrison's acerbic and witty view of the inescapable realities of life. Take 12 was the master recording, this being a “reduction”, or “bounce”, of Take 11. (These are terms for a recording process, taken up by the Beatles around this time, where, by merging two or more existing tracks of a tape while copying it across to a second tape, vacant tracks are created, allowing for further overdubbing. Abbey Road was still using four-track recording machines in 1966, so this process was often necessary.) Issued here for the first time is that Take 11, not dissimilar to the master but with some notable differences, principally in the clean, full ending (instead of the repeated guitar solo) and the “anybody got a bit of money?” backing vocals (instead of the “Mister Wi Aister Heath” reference), Eleanor Rigby (strings only) ‘artney | Recorded EMI Studios, London, 28 April 1966 Producer George Martin Engineer Geo/f Emerick Eleanor Rigby presented in a manner never before heard, featuring only the double string quartet - four violinists, two viola players and two cellists in isolation, performing the score written and conducted for Paul's song by George Martin. This is Take 14 (later “reduced” into Take 15 and on to which lead and backing vocals were overdubbed to create the master) remixed anew in 1995 using the fine reverberative acoustics of Abbey Road’s Studio One. 22 23 o~. I'm Only Sleeping (rehearsal) * I'm Only Sleeping (Take 1)' ‘John lennon, Pav! McCariney } Recorded EMI Studios, London, 29 April 1966 Producer George Martin Engineer Geojf Emerick ‘Two performances of John’s new song I'm Only Sleeping, recorded toward the end of the session in which vocal tracks had been overdubbed on to Eleanor Rigby. The first is a brief instrumental rehearsal ~ distinguished, unusually, by a vibraphone part being played along with the acoustic guitar and drums. This recordingThe Beatles in concert for the last lime; Candlestick Park, San Francisco, 2° Augus! 1966VOLUME 2Strawberry Fields Forever typifies this: a succession of fine recordings captured the gist of the song but no one performance wholly seized its spirit (at least, not to the satisfaction of its composer), and the final master was not completed until almost a month after this initial session. As it took shape on 24 November, with an alternative lyric order and arrangement, this recording was considerably different from that master. Strawberry Fi Forever (Take 7 and edit piece)* [ohn lennon, Paul McCariney } Recorded EMI Studios, London, 29 November and 9 December 1966 Producer Engineer Geoff Emerick Jeorge Martin Just five days after that initial take of Strawberry Fields Forever the song's arrangement was undergoing dramatic change. The master was. a composite of two separate recordings ~ the first minute came from Take 7 the remainder from Take 26. Presented here, issued for the first time, is the full Take 7, going beyond those first 60 seconds (indeed, including within that first minute a 23-second verse that was later excised). ‘The sound is mono because the recording presented here is an original 10 mix — labelled RM3 - made, like Take 7, on 29 November 1966, The conclusion of the original master (embracing Take 26) included sections flown in from a combination of edit pieces taped on 9 December featuring backwards cymbals, a “wild drum track” played by Ringo and some extemporal vocalising by John. A much longer section of this edit piece is released here, again for the first time, crosstaded on to the end of RM3. At the conclusion one can hear John twice mutter “cranberry sauce”, a phrase which, less clearly audible right at the end of the master has long puzzled listeners. m Penny Lane Lehn lennon, Paul McCoriney } Recorded EMI Studios, London, 29 and 30 December 1966; 4, 5, 6,9, 10, 12 and 17 Januar Producer George Martin Engineer Geoff Emerick Paul McCartney’s Penny Lane was the third song recorded in the crop of new sessions, leading to its February 1967 release with Strawberry Fields Forever as a double-A-sided single. The version presented here is a unique combination of the many different takes and sounds that comprised that original master, broken down = in some cases instrument by instrument = and remixed anew from a 24-track tape. In this way one can hear certain parts quite differently: Paul's vocal is only single-tracked, the bridge section highlights the overdubs of cor anglais and trumpets effected on 12 Januar and the piccolo trumpet overdub featured near to the conclusion of the master is heard here in extended form. And then there is “a suitable ending”... 1967 A Day In The Life Cohn lennon, Paul McCartney } Retorded EMI Studios, London, 19, 20 J Producer George Martin Engineer Geoff Emerick ry and 10 February 1967 Assembled expressly for the Anthology, this composite mix embraces the best of the unreleased outtakes of A Day In The Life, plotting the making of the song that brought such a monumental close to the album Sgt Pepper's Lonely Hearts Club Band. The opening talk, the sounding of the alarm clock (used so effectively in the finished master) and the intro - John muttering “sugar plum fairy, sugar plum fairy”instead of the more conventional count-in — is from the start of Take 1, when the song y 1967. was first taped on 19 Jan The main body of the music is Take 2, recorded d ring the same session, At atures John’s acoustic guitar and haunting live lead vocal, this point the tape sundry percussion instruments, piano (played by Paul) and an echo-drenched Mal Evans, one of the Beatles’ two assistants, counting out the first of two long gaps that would later be so famously filled with the orchestral crescendos. ‘After the counting, the track slips into mono to illustrate a guide vocal from ¢ 6 but then superseded by a better Paul, taped on 20 Ja recording of the passage on 3 February. The original survives, however, thanks to a juary as an overdub on to T mono mix done in the interim, on 30 January Take 2 then returns, leading into a new mix of the orchestral crescendos recorded on 10 February, but instead of the familiar final pia ends with Paul talking about the orchestral overdub, a short extract from one of four 10 chord the track mbient studio sounds recorded at the same session. tapes of a Good Morning Good Morning Recorded EMI Studios, London, 8 and 16 February 1967 Producer George Martin Engineer Geo/f Emerick As issued on Sgt Pepper, the master of Good Morning Good Morning was reductions” deriving in ccession of bruary to 13 March, that original Take 11, laden with overdubs by way of a s Take 8. For almost a month, though, from 16Take 8 remained untouched, and, because it-was complete and included an overdubbed John Lenn to assume that, for much of that time, it n lead vocal, it is reasonable was considered to be the master. ‘This is thar Take 8, the basic track from 8 February with John’s vocal added on the 16th. Only A Northern Song Recorded EMI Studios, London, 13, 14 February and 20 April 1967 Producer George Engineer Geoff Emerick artior Although not issued on disc until the Yellow Submarisre soundtrack album, in January 1969, George’s Only A Northern Song was written and first intended for Sgt Pepper, its place in the recording chronology coming between other Pepper tracks Fixing A Hole, composed by Paul, and Being For The Benefit Of Mr Kite!, by John, The master of Only A Northern Song combined Take 3 (with overdubs) and a “reduction” of this, Take 11 (with further overdubs), synchronously mixed into mono. The mix presented here, in stereo and slightly speeded up, is Take 3 - the basic track from 13 February, with bass and guitar added on 20 April - with unused vocal tracks (yielding a number of lyric ns from the master} overdubbed on to a separate “reduction”, Take 12, flown in, varia Being For The Benefit Of Mr Kite! (Takes 1 and 2) 1 (Take 7) Recorded EMI Studios, London, 17 and 20 February 1967 Producer George Martiv Engineer Geoff Emerick Its lyric deriving in an 1843 circus poster, advertising an event takin; Rochdale, Lancashire, John Lennon was certain of the title of his latest compositi place in om.Apple Corps te Boot Pubic “For The Benefit Of Mr Kir Emerick before the Beatles bega ‘Of Mr Kite!,” John quickly corrected, The recordings presented here come from that ini This is Take One” announced balance engineer Geoff n work on their new number. “Being For The Benefit al Abbey Road session, 17 February 1967, when the Beatles cut seven takes, beginning with the above dialogue that introduced Take 1, and the performance that followed and immediately broke down. Then there is Take 2, which also broke down, and the ensuing conversation wherein Paul offered John some direction, The next cut, Take 7, formed the basis for the eventual master (which was Take 9), ‘opening with George Martin encouraging the Beatles to perform, and then pumping away at the harmonium which he played on the track. Near to the end, this recording is crossfaded with an orga formed part of the final master but is clearer in this new mix. and calliope effects tape, prepared on 20 February, that © Apple Corp id Bet Pbltions UdLucy In The Sky With Diamonds 1 lennon, Paul McCartney | Recorded EMI Studios, Landon, 1 and 2 March 1967 Preducer George Martin eer Geoff Emerick This is a unique combination of some of the different takes and sounds tha comprised the original master of Lucy In The Sky With Diamonds, broken down to their constituent parts and newly remixed. The basic track is Take 6, taped ‘on 1 March, in which John sang a guide vocal, not yet attempting the finished model. ‘The sound of a tamboura has been added from Take 7, also 1 March, and the chorus vocals have been flown in from Take 8, a “reduction” of Take 7 that receiv overdubs the next day Within You Without You (instrumental) { George Harrison | Recorded EMI Studios, London, 15, 16 and 22 March and 3 April 1967 Producer George Martin En eer Geoff Emerick This is the master of the George Harrison composition that opened side two of Set Pepper's Lonely Hearts Club Band, presented here in a fashion not previously available: remixed, without George’s vocal, from the different ori four-track tapes that formed that master. nal 12 13 What remains, audible to the fore, is a combination of tamboura, tabla, dilruba and swaramandal tracks recorded in March, with violins, cellos and George's sitar track overdubbed on 3 Apt Sgt Fepper 's Fonoly, Hearts Club Band (Reprise)* Recorded EMI Studios, London, | April 1967 Producer George Martin Engineer Geoff Emerick Getting very near the end, the Beatles recorded the last new number for Sgt Pepper just two days before Paul was committed to fly out to America, the sessions over. Possibly for this reason, but also because it was technically less complicated than the other tracks, this final song - the reprise version of the title cut — was started, completed and mixed in a single session, albeit one that didn’t finish until six o'clock the following morning. The master was Take 9, with overdubs = the version here is a basic track, Take 5, with Paul's guide vocal. You Knew My Name (Look Up The Number) [ohn Le McCartoey } Recorded EMI Studios, London, 17 May and 7, 8 June 1967, 30 April 1969 Producer George Martin (1967 recordings), Chris Thomas (1969) Engineer Geoff Emerick (1967 recordings), Jeff Jarratt (1969) One of the Beatles’ most unusual recordings ~ sometimes named by Paul as “probably my favourite” for that reason - You Know My Name (Look Up The Number) was written by John and created over a two year period, the basic track in 1967, and the vocals (by John and Paul only: George and Ringo were not at the session) in 1969. It then took a further year to see release, as the B-side of Let It Be, the Beatles’ last single in their home country, in March 1970.14 That B-side lasted a little over four minutes and (because John created the master by editing an existing mono mix tape) the sound was monaural. Here it is issued in stereo and, at almost six minutes, in extended form for the first time, including never-before-heard sections cut out by John and newly restored. Now as then the emphasis is on fun, and there is plenty to enjoy, including the sound of Brian Jones of the Rolling Stones playing saxophone. 1 Am The Walrus {John lennon, Foul McCarey | Recorded EMI Studios, London, 5 September 1967 Producer George Martin Engineer Geo/f Emerick Lacking at this juncture the many overdubs and effects that would turn it into perhaps the most compelling master ever issued by the Beatles, this is Take 16 of 1 Am The Walrus, the basic track on to which all the extras were added. 16 Using this recording as his reference, George Martin wrote the string and backing vocal arrangement that nor only was sympathetic ro John Lennon's composition but enhanced it in a most dramatic fashion, The Fool On The Hill (demo)* lennon, Paul McCartney | Stu ss, London, 6 September 1967 orge Martin Three weeks before he recarded it for disc release on Magical Mystery Tour, Paul taped a piano/vacal demo of his latest song, Taking as long to achieve as it sounds ~ less than three minutes ~ he sat at the studio piano, playing and singing live. The result is far from the sound of the final master (indeed Paul hadn’t yet fleshed out a full Iyric) but it has a charm of its own and a nicely sent-up ending. Your Mother Should Know [ohn lennon, Paul MeCortney } Recorded EMI Studios, London, 16 September 1967 Preducer George Martin Engineer Ker Scort “Do you want us to do it again, George?” mocked Paul to the Beatles’ producer at the start of this recording. Your Mother Should Know had already been on the blocks for a month, initial sessions taking place at a different venue ~ Chappell Studios, just off New Bond Street in Central London — on 22 and 23 August (the last time the Beatles saw their manager Brian Epstein, who died on the 27th). Now Paul was embarking on a new arrangement, with snare drum, harmonium, jangle piano and vocal.17 The Beatles recorded eleven such takes of Your Mother Should Know during this 16 September session, the one featured here, Take 27, being marked “best”, albeit only temporarily. The Fool On The Hill (Take 4) : ; Recorded EMI Studios, London, 25 September 1967 Producer George Martin Engineer Ker Scott The master of Paul’s The Foo! On The Hill was a re-make, started on 26 September. Three takes of an alternative arrangement were recorded the previous day, the last being “bounced down” to Take 4 and on to which recorder, drums and Paul's lead vocal were added. As with the demo, it is clear that Paul had yet to finalise the lyric at this point. z j 4 2 2 § ? Recorded EMI Studios, Producer George Martin ind 19 October 1967 Engineer Kev Scott An early incarnation of Pau!’s Hel single by the Beatles in November 1967 holding off opposition from the Magical Mystery Tour double-EP set. Thi ake 14, from 2 October) with vocals and mere guitars added on 19 October, From here the recording would be “bounced” three more times and given a number of further overdubs, Goodbye, the master of which was issued as a nd was the Christmas number one - in Britain is Take 16 (a “reduction” of the best basic track, so, although there are similarities, there are also many differences between this take and the master,19 20 Lady Madonna Recorded EMI Studios, London, 3 and 6 February 1968 Producer George Martin Engineer Kew Scott (3 February), Geoff Emerick (6 February) The principal product of a brief flurry of recording activity in February 1968, just before the Beatles took off for India to study Transcendental Meditation, Lady Madonna became the Beatles’ follow-up singl March and, as u to Hello, Goodbye, issued in a worldwide number one. This is a unique remix of some of the different takes and sounds that comprised the master, encompassing Take 3 (the basic track of piano and drums with overdubs of guitar, bass, vocals and more drums) from 3 February and a “reduction” of this called Take 4, also with overdubs (particularly saxes), from 6 February. Across The Unive: se Recorded EMI Studios, London, 3 February 1968 Producer George Martin Engineer Ken Scott The February 1968 sessions that began with Lady Madonna also embraced the Light, and two of John’s compositions, Hey Bulldog, which went on to the album Yellow Submarine, and Across The Universe, which seems to have been treated with an undeserved lack of appreciation. The first master of Across The Universe, with bird sound effects and — courtesy of nwo ng and then it appeared only as part of a charity compilation. Then the song re-surfaced a few months later on the Beatles” last album Let It Be, re Beside of that single, George's The Inn female fans - backing vocals, was not issued until almost two years after its record ixed by Phil Spector. Here, for the first time, is an unembellished and alternative recording of Across The Universe, Take 2, recorded on Saturday 3 February 1968 in EMI Studio Three, temporarily marked “best” on the tape box and so afforded overdubs and technical wonders like the phasing on John’s guitar and the percussion, mu Deva, OM.” 2 iBele ANTHOLOGY 2