The Usenet Guide to Beatles Recording Variations

1962

Version 2
compiled by Joseph Brennan


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 Lennon-McCartney 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 slightly 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.


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.


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).

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.

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.
    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 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 11 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.

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.

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 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 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.


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