The Usenet Guide to Beatles Recording Variations

1963

Version 2
compiled by Joseph Brennan


[ 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.

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.

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.


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.

  • [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.

  • [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.

  • [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).


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). 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

  • 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

  • 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.

  • [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 1962-1966 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).

[ 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.


[ 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

  • 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.

  • 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.

  • 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.

  • [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

  • [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.


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

  • [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].

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.


[ 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.


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.

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 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 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.

  • [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.

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.
    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].)


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.

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.

    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

    [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?).
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