The Usenet Guide to Beatles Recording Variations Part Four version 1.1, May 2 1994 compiled by Joseph Brennan copyright 1994 by Joseph Brennan--no unauthorized use permitted ----- 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. US: Capitol T 2576 Revolver 1966. [b] stereo 22 Jun 1966. UK: Parlophone PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. CD: Revolver 1987. The tape loops must have been recorded into one of the 4 tracks of the master since they are in the same places in both mixes, although there may be trivial differences in how they are faded in and out in the mix. Mono [a] starts with the loop track at full volume while stereo [b] fades in on it. At the start of the second vocal section stereo [b] has a feedback whistle in "love is all and love is everyone" while [a] does not. ----- 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: Revolver 1987. Mono [a] has a longer fade. 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 vocal overdubs at the fade, the line "every single day of my life". ----- LOVE YOU TO basic recording- 11 Apr 1966 additional recording- 11,13 Apr 1966 master tape- 4 track 2d generation [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: Revolver 1987. Mono [a] has a longer fade. 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 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5651 1966. [b] stereo 31 Oct 1966. UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. CD: Past Masters 2 1988, 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. Mono [a] has louder drums, sounds compressed, has more echo, than the others. Ringo's timekeeping tapping during the "paperback writer" parts is left in. (Or are the taps actually different on different mixes?) [b] and [c] are two of three stereo mixes made the same day. [c] has the backing vocals louder, and the stereo is reversed compared to [b]. ----- 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 1966, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 5651 1966. [b] stereo 2 Dec 1969. US: Apple SW-385 Hey Jude 1970. CD: Past Masters 2 1988. The master tape has backwards vocals at the end, overdubbed from another take -- it has "when the rain comes" backwards, but this take has "if the rain comes" played forwards. ----- 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 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. [c] stereo 20 May 1966. edited. US: Capitol ST 2553 Yesterday & Today 1966 some later issues, c.1973. [d] mono 21 Jun 1966. edited. UK: Parlophone PMC 7009 Revolver 1966. CD: Revolver 1987. The editing removed 43 seconds of the song in all four cases. At the very end of the fade, "US mono" [a] has John (?) saying "OK Herb" (?), which is not even on the mock stereo made from it [a1] [a2]. [d] has the vocal mixed louder than [a]. Shorten reports Capitol did a second mock stereo mix but we cannot find any instance of one on many pressings of the LP. ----- 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: Revolver 1987. 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 countdown, and the last word of the lyric. This is similar to the backward vocal overdubs on Rain. 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]. ----- 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 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. CD: Revolver 1987. [c] stereo 20 May 1966. edited. US: Capitol ST 2553 Yesterday & Today 1966 some later issues, c.1973. [d] 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 [d]. ----- 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 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: Revolver 1987. [c] stereo 20 May 1966. US: Capitol ST 2553 Yesterday & Today 1966 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 end: [a] guitar starts 4 beats after the last word "sleeping" [b][c][d] guitar starts immediately after last word "sleeping" Shorten reports Capitol did a second mock stereo mix but we cannot find any instance of one on many pressings of the LP. ----- 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 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5715 1966, T2576 Revolver 1966. [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: Revolver 1987, The Beatles 1962-1966 1993. The ADT in stereo [b] continues into "Elean" in 1st verse, by mistake. ----- 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: Revolver 1987. ----- 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 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5715 1966, Capitol T 2576 Revolver 1966. [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: Revolver 1987, Yellow Submarine 1987, The Beatles 1962-1966 1993. [b1] mono from [b] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. 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". ----- 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: Revolver 1987. ----- 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: Revolver 1987. The bass drum is missing at the very end in stereo [b]. ----- HERE, THERE AND EVERYWHERE basic recording- 14 Jun 1966 additional recording- 14,16,17 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: Revolver 1987. [b] mono 21 June 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. 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. ----- 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 PCS 7009 Revolver 1966. US: Capitol ST 2576 Revolver 1966. [b] stereo 22 Jun 1966. UK: Parlophone PMC 7009 Revolver 1966. US: Capitol T 2576 Revolver 1966. CD: Revolver 1987. ----- 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 3d generation [a] mono 22 Dec 1966. edited. UK: Parlophone R5570 1967. US: Capitol 5810 1967, Capitol MAL 2835 Magical Mystery Tour 1967. [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. edited. Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971. CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. This is two recordings mixed separately and edited together at exactly 1:00, going from "Let me take you down,'cause I'm" from take 7 of 29 Nov, into "going to, Strawberry Fields" from take 26 of 15 Dec. The mix of take 7 itself involves an edit, at the silence at 0:55, since take 7 has no refrain between verses 1 and 2; that is, "Let me take you down, 'cause I'm" is from a later part of take 7. Take 7 is just a 2d generation tape. The second part, take 26, is a complicated 3d generation tape. A drum and percussion track from take 15 and a similar edit piece for the end, take 24, were copied and edited to 2d generation take 25, on which more was overdubbed, and mixed down to take 26 for more overdubs. The "cranberry sauce" must be from take 24. This whole second part was recorded at a faster tempo and slowed down during preparation of the combined recording. There may be a slight slide in tape speed right around the join, too. Mono [a] is about a second longer on the German single, so you can hear a syllable of the second "cranberry sauce" (or "I'm very hoarse" or I'm very small" or "I buried Paul"... your pick). Stereo [c] was once known as the "German stereo mix" and is now the standard CD stereo mix. It has better percussion sound than the "US stereo mix" [b] and more stereo separation. [b] has a nice effect at the edit, panning the cello and trumpet track from left to right, where it stays, distracting the listener from the edit itself; in [c] this track just starts suddenly on the right. The swordmandel, which sounds like a harp, is panned from left to right in [c] at the start of both verse 2 and 3; it's just centered in [b]. John counts down the rest before the start of verse 2 and 3, properly mixed out in [b] but heard in [c]. The fadeout-fadein near the end goes to a moment of silence in [c], but comes back immediately in the others. [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 make it possible to work out what is on the 4 tracks. ----- 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. [b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: 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 1967 promo copies only. [b] mono 25 Jan 1967. UK: Parlophone R5570 1967. US: Capitol 5810 1967, Capitol MAL 2835 Magical Mystery Tour 1967. [b1] mock from [b] 1967, by Capitol. US: Capitol SMAL 2835 Magical Mystery Tour 1967 [b2] mock from [b] about 1972, by Capitol. US: Apple SKBO-3404 The Beatles 1967-1970 1973. UK: Apple PCSP 718 1967-1970 1973. [c] stereo 30 Sep 1971. Australia: Apple TVSS 8 Essential Beatles 1971. Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971. CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. [c1] stereo from [c] and [a] 1980, by Capitol. US: Capitol SHAL12060 Rarities 1980. The "US promo mix" [a] has an extra trumpet at the end, mixed out in [b] and [c]. The stereo mix [c] has a different extra trumpet after "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]. 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 31C06604972) has the phrase "in summer" cut out, for reasons unknown. ----- 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 3653 Sgt Pepper 1967. [b] stereo 23 Feb 1967. edited. crossfaded 20 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. [b1] stereo from [b] 1973. UK: Apple PCSP 718 The Beatles 1967-1970 1973. [b2] stereo from [b] 1973, by Capitol. US: Apple SKBO-3404 The Beatles 1967-1970 1973. [c] stereo 1988. edited. CD: Imagine/John Lennon 1988, The Beatles 1967-1970 1993. 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). In [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 is heard in [c], which was made for 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. ----- 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 3653 Sgt Pepper 1967. [b] stereo 6 Mar 1967. crossfaded 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 1967-1970 1973. US: Capitol SMAS 3653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Sgt Pepper 1987, 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 3653 Sgt Pepper 1967. [b] stereo 6 Apr 1967. edited? UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. The editing of mono [a] touched up the sound effects at the end, mainly so the hen cluck at the very end would run straight into the opening of Sgt Pepper (reprise). An Apr 6 mono mix was replaced by an Apr 19 mix [a] containing this edit. "Good morning good morning good" repeats 9 times in [a], as against 10 times in stereo [b], probably showing this edit. Lewisohn does not say when or if the Apr 6 stereo mix was redone, and perhaps it was not. Ironically the blend is better in stereo. The lead guitar is mixed down after the break in mono [a] but on [b] it continues loud over "People running round...". ----- 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 3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. The mono is two mixes edited together. The mono is a few seconds longer, long fade. ----- 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 from [a] 29 Oct 1968. UK: Apple PCS 7070 Yellow Submarine 1969. US: Apple SW 153 Yellow Submarine 1969. CD: Yellow Submarine 1987. [a2] mono from [a1] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. 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. ----- 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 3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. 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]? ----- 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 3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. Talk just before the end is audible, the last syllables "leave it" (or "believe it"?) being quite distinct in mono [a]. ----- 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 3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 1967-1970 1973. US: Capitol SMAS 3653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Sgt Pepper 1987, The Beatles 1967-1970 1993. Mono [a] has quite a bit of "phasing" not in [b]-- ADT with "flanging", deliberate tape speed manipulation 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. For some reason a new mono mix was made 1 November 1967 for the original Yellow Submarine film print; this was not available for review. ----- 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 3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: 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 3653 Sgt Pepper 1967. [b] stereo 4 Apr 1967. edited. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. 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. ----- 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 3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967. edited. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: Sgt Pepper 1987. There are two edits of instrumental work, at the start of verses 2 and 3. Stereo [b] was slowed down when mixed and the orchestra has less presence. ----- WITH A LITTLE HELP FROM MY FRIENDS basic recording- 29 Mar 1967 additional recording- 29,30 Mar 1967 master tape- 4 track 2d generation [a] mono 31 Mar 1967. crossfaded 6 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. US: Capitol MAS 3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. crossfaded 7 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 717 The Beatles 1967-1970 1973. US: Capitol SMAS 3653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Sgt Pepper 1987, 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) 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 3653 Sgt Pepper 1967. [b] stereo 20 Apr 1967. edited. crossfaded 20 Apr 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. US: Capitol SMAS 3653 Sgt Pepper 1967. CD: 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're in 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 [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: 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] mono 28 Apr 1967. UK: Parlophone PMC 7026 Sgt Pepper 1967. [b] stereo 1 May 1967. UK: Parlophone PCS 7026 Sgt Pepper 1967. [c] stereo 1987. CD: Sgt Pepper 1987. This 15 Hz tone was placed after A Day in the Life during disk cutting. The dates shown [a] and [b] are for the first cut for Parlophone; it was recreated for later cuts. For CD it was recreated when the CD was mastered. ----- MAGICAL MYSTERY TOUR basic recording- 25 Apr 1967 additional recording- 25,26,27 Apr, 3 May, 7 Nov 1967 master tape- 4 track 3d generation [a] mono 4 May,7 Nov 1967. UK: Parlophone MMT 1 Magical Mystery Tour (EP) 1967. US: Capitol MAL 2835 Magical Mystery Tour 1967. [b] stereo 7 Nov 1967. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967, Apple PCSP 718 The Beatles 1967-1970 1973. US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. 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. Lewisohn says a new vocal line (unspecified) was added Nov 7 to existing mixes. Possibly this is the "Roll up..." line heard on record. No stereo mix is booked prior to Nov 7 either so I presume it was made then. Near the end of the instrumental break, the brass part under "Noooow!" is longer in stereo [b] than [a]. ----- BABY, YOU'RE A RICH MAN basic recording- 11 May 1967 at Olympic Sound additional recording- 11 May 1967 at Olympic Sound master tape- 4 track 2d generation [a] mono 11 May 1967 at Olympic Sound. UK: Parlophone R5620 1967. US: Capitol 5964 1967, Capitol MAL 2835 Magical Mystery Tour 1967. [a1] mono, untrimmed. US: Capitol 5964 later issues, Capitol Starline A6300 1981. [a2] mock from [a] 1967, by Capitol. US: Capitol SMAL 2835 Magical Mystery Tour 1967 first issue. [a3] mock from [a] c.1970, by Capitol. US: Capitol SMAL 2835 Magical Mystery Tour 1967 second issue. [b] stereo 22 Oct 1971. Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971. CD: Magical Mystery Tour 1987. Mono [a] is 9 seconds longer, long fade, compared to [b]. The untrimmed mono [a1] has the end of the word "seven" or "eleven" spoken just before the song starts. ----- ALL TOGETHER NOW basic recording- 12 May 1967 additional recording- 12 May 1967 master tape- 4 track [a] stereo 29 Oct 1968. UK: Apple PCS 7070 Yellow Submarine 1969. US: Apple SW 153 Yellow Submarine 1969. CD: Yellow Submarine 1987. [a1] mono from [a] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. A mono mix made 12 May 1967 was used only in the original Yellow Submarine film print. ----- YOU KNOW MY NAME (LOOK UP THE NUMBER) basic recording- 17 May 1967 and 8 Jun 1967 additional recording- 17 May 1967 and 8 Jun 1967; 30 Apr 1969 master tape- 4 track 3d generation [a] mono 9 Jun 1967, 30 Apr, 26 Nov 1969. edited. UK: Parlophone R5833 1970, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 2764 1970, Capitol SHAL-12060 Rarities 1980. CD: Past Masters 2 1988. Recorded in 5 parts, part 1 on May 17 and the others on Jun 8, 1967; edited together Jun 9; all vocals (and some other sounds) added Apr 30, 1969; copied and edited Nov 26, 1969. ----- IT'S ALL TOO MUCH basic recording- 25 May 1967 at De Lane Lea additional recording- 31 May, 2 Jun 1967 at De Lane Lea master tape- 4 track 2d generation [a] stereo 17 Oct 1968. edited. UK: Apple PCS 7070 Yellow Submarine 1969. US: Apple SW 153 Yellow Submarine 1969. CD: Yellow Submarine 1987. [a1] mono from [a] 1968. edited. UK: Apple PMC 7070 Yellow Submarine 1969. An excerpt of a mono mix made 12 October 1967 was used only in original film prints of Yellow Submarine. The portion used includes a verse not included in [a], and a bootleg of a radio broadcast shows the mono mix to be 8:25. In the 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. ----- ALL YOU NEED IS LOVE basic recording- 14 Jun 1967 at Olympic Sound additional recording- 19,23,24,25,26 Jun 1967 master tape- 4 track 3d generation [a] mono 26 Jun 1967. UK: Parlophone R5620 1967. US: Capitol 5964 1967, Capitol MAL 2835 Magical Mystery Tour 1967. [a1] mock from [a] 1967, by Capitol. US: Capitol SMAL 2835 Magical Mystery Tour 1967. [b] stereo 29 Oct 1968. UK: Apple PCS 7070 Yellow Submarine 1969, Apple PCSP 718 The Beatles 1967-1970 1973. US: Apple SW 153 Yellow Submarine 1969, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Yellow Submarine 1987, The Beatles 1967-1970 1993. [b1] mono from [b] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. Mono [a], compared to [b], has more horns but less drums in the intro, louder lead guitar, and a longer fade by 10 seconds so that "Greensleeves" is heard twice. In [b] a voice says "Check!" 25 seconds in. A new mono mix made 1 November 1967 was used for original film prints of Yellow Submarine. ----- YOUR MOTHER SHOULD KNOW basic recording- 22 Aug 1967 at Chappell additional recording- 23 Aug at Chappell; 29 Sep 1967 master tape- 4 track 3d generation [a] mono 2 Oct 1967. UK: Parlophone MMT 1 Magical Mystery Tour (EP) 1967. US: Capitol MAL 2835 Magical Mystery Tour 1967. [b] stereo 6 Nov 1967. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967. US: Capitol SMAL 2835 Magical Mystery Tour 1967. CD: Magical Mystery Tour 1987. Mono [a] has "phasing" in the last verse, not in stereo [b]. The right and left channels of stereo in [b] switch twice as a special effect; the 1988 stereo mix made for the Magical Mystery Tour home video does not do so. ----- I AM THE WALRUS basic recording- 5 Sep 1967 additional recording- 5,6,27,28,29 Sep 1967 master tape- 4 track 2d generation + 4 track 2d generation (2 tapes) [a] mono 29 Sep 1967. edited. UK: Parlophone R5655 1967, Parlophone MMT 1 Magical Mystery Tour (EP) 1967. [a1] mono 29 Sep 1967. edited. US: Capitol 2056 1967. [a2] mono from [a1] 1967, by Capitol. US: Capitol MAL 2835 Magical Mystery Tour 1967. [b] stereo, and mock from [a], 6,17 Nov 1967. edited. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967, Apple PCSP 718 The Beatles 1967-1970 1973. CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. [b1] stereo and mock from [b]. edited (by Capitol?). US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. [b2] stereo and mock from [b], and mock from [a1] 1980, by Capitol. Capitol: SHAL-12060 Rarities 1980. The orchestra and choral singers were recorded on two generations of a separate tape, take 25, with edit pieces, synchronized during mixing to the Beatles on take 17, making a difficult mix that took many tries to get. Lewisohn does not describe this as two tapes at mix stage, but the many attempts at mixing are otherwise inexplicable. The mixes seem to run at slightly variable speeds, maybe a byproduct of synchronizing. Mono [a] is reportedly mono mix 23, an edit of mono mix 10 (to the end of the second "Goo Goo Gajoob") and mono mix 22. Mix 22 is the one with the radio sound mixed in, a BBC broadcast of King Lear. [a] has three edits, all in the first part of the song, 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; a few beats after "I'm crying" are edited out. [a1] is similar to [a] 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 a copy of an early state of mix 23. [a2] appears to be an attempt to copy the edit in [a], but the edit is slightly different. Stereo [b] is new mix from the synchronized tapes up to the same spot as the edit in [a]. After that [b] is mock stereo made from mono mix 22, in order to get the radio sound, which was added sound-on-sound to the mono mix. [b] 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 panning left and right near the end of the fadeout. [b1] is [b] with the first 2 beats of the intro cut off, as in [a]. This might have been done by Capitol. [b2] is a forgery made by Capitol. The beats after "I'm crying" have been edited in, in mock stereo, to create a bogus complete stereo version. The stereo home video release of Magical Mystery Tour has a new mix with the 4 beat intro like [b1], to synch with the film. At the edit, it cuts into the mono master, not fake stereo. ----- BLUE JAY WAY basic recording- 6 Sep 1967 additional recording- 7 Sep, 6 Oct 1967 master tape- 4 track 3d generation [a] stereo 7 Nov 1967. edited. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967. US: Capitol SMAL 2835 Magical Mystery Tour 1967. CD: Magical Mystery Tour 1987. [b] mono 7 Nov 1967. edited. UK: Parlophone MMT 1 Magical Mystery Tour (EP) 1967. US: Capitol MAL 2835 Magical Mystery Tour 1967. Lewisohn notes editing but does not explain. Mono [a] includes a backing vocal track mixed center, part of it backwards, that is hardly used at all in [b]. The mixes have a very heavy use of "phasing", that is, ADT with "flanging", deliberate tape speed variation, and in this case relatively long delay in repeating the sound. The 1988 stereo mix for home video Magical Mystery Tour, like [a], makes very little use of the backing vocal track, so sounds quite different from [b]. ----- FLYING basic recording- 8 Sep 1967 additional recording- 8,28 Sep 1967 master tape- 4 track 2d generation [a] mono 28 Sep 1967. edited. UK: Parlophone MMT 1 Magical Mystery Tour (EP) 1967. US: Capitol MAL 2835 Magical Mystery Tour 1967. [b] stereo 7 Nov 1967. edited. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967. US: Capitol SMAL 2835 Magical Mystery Tour 1967. CD: Magical Mystery Tour 1987. A section of several minutes at the end was edited off. Stereo [b] is a few seconds longer, long fade; on [a] the tape loop track begins earlier. [a] has louder guitars near the beginning. The home video Magical Mystery Tour has a 1988 stereo mix similar to the old mono mix [a]. ----- THE FOOL ON THE HILL basic recording- 25 Sep 1967 additional recording- 25,26,27 Sep, 20 Oct 1967 master tape- 4 track 4th generation [a] mono 25 Oct 1967. edited. UK: Parlophone MMT 1 Magical Mystery Tour (EP) 1967. US: Capitol MAL 2835 Magical Mystery Tour 1967. [b] stereo 1 Nov 1967. edited. UK: Parlophone SMMT 1 Magical Mystery Tour (EP) 1967, Apple PCSP 718 The Beatles 1967-1970 1973. US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. The editing is unspecified by Lewisohn. In mono [a] the vocal track is faded out a little sooner in the fadeout. The Magical Mystery Tour uses a 1988 stereo mix that is similar to these two. ----- HELLO GOODBYE basic recording- 2 Oct 1967 additional recording- 2,19,20,25 Oct, 2 Nov 1967 master tape- 4 track 4th generation [a] mono 2 Nov 1967. UK: Parlophone R5655 1967. US: Capitol 2056 1967, Capitol MAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973. [b] stereo 6 Nov 1967. UK: Apple PCSP 718 The Beatles 1967-1970 1973. US: Capitol SMAL 2835 Magical Mystery Tour 1967. CD: Magical Mystery Tour 1987. ----- THE INNER LIGHT basic recording- 12 Jan 1968 at EMI Bombay, India additional recording- 6,8 Feb 1968 master tape- 4 track 2d generation [a] mono 8 Feb 1968. UK: Parlophone R5675 1968, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79. US: Capitol 2138 1968, Capitol SHAL-12060 Rarities 1980. [b] stereo 27 Jan 1970. UK: Parlophone SGE 1 (EP) 1981. CD: Past Masters 2 1988. The stereo mix sat unused for a long time. ----- LADY MADONNA basic recording- 3 Feb 1968 additional recording- 3,6 Feb 1968 master tape- 4 track 3d generation [a] mono 15 Feb 1968. UK: Parlophone R5675 1968. US: Capitol 2138 1968. [b] stereo 2 Dec 1969. UK: Apple PCSP 718 The Beatles 1967-70 1973. US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Past Masters 2 1988, The Beatles 1967-1970 1993. The decay on the last piano note is cut off on both mixes but lasts longer in mono [a]. ----- ACROSS THE UNIVERSE basic recording- 4 Feb 1968 additional recording- 4,8 Feb 1968, 1 Apr 1970 master tape- 4 track 2d generation [a] stereo 2 Oct 1969. UK: Regal Starline SRS 5013 No One's Gonna Change Our World 1969, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79, Parlophone PCS 7214 Ballads 1980. US: Capitol SHAL-12060 Rarities 1980. CD: Past Masters 2 1988. [b] stereo 2 Apr 1970. UK: Apple PXS1 and PCS 7096 Let It Be 1970, Apple PCSP 718 The Beatles 1967-1970 1973. US: Apple AR 34001 Let It Be 1970, Apple SKBO-3404 The Beatles 1967-1970 1973. CD: Let It Be 1987, The Beatles 1967-1970 1993. Neither of these is at the recorded speed; [a] is faster and [b] is slower than the original tape. The finished mono mix made in Feb 1968 has never been issued. [a] has animal sounds overdubbed during mixing for SRS5013, a benefit album for the World Wildlife Fund. [b] has most of the original instrumentation mixed out and replaced by new orchestra and choral vocals recorded in 1970. ----- HEY BULLDOG basic recording- 11 Feb 1968 additional recording- 11 Feb 1968 master tape- 4 track [a] stereo 29 Oct 1968. UK: Apple PCS 7070 Yellow Submarine 1969. US: Apple SW 153 Yellow Submarine 1969. CD: Yellow Submarine 1987. [a1] mono from [a] 1968. UK: Apple PMC 7070 Yellow Submarine 1969. An 11 February 1968 mono mix was in the film print used at the London premiere of Yellow Submarine, but the song was then dropped from the film entirely. The version with the song has occasionally appeared in the UK. ----- End Part 4