The Usenet Guide to Beatles Recording Variations

1967

Version 2
compiled by Joseph Brennan


A DAY IN THE LIFE

basic recording- 19 Jan 1967
additional recording- 19,20 Jan, 3,10,22 Feb 1967
master tape- 4 track 2d generation + 4 track (2 tapes)

  • [a] mono 22 Feb 1967. edited. crossfaded 6 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 23 Feb 1967. edited. crossfaded 20 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

  • [b1] stereo with crossfade cut off 1973.
    UK: Apple PCSP 718 The Beatles 1967-1970 1973.

  • [b2] stereo with crossfade cut off 1973 by Capitol.
    US: Apple SKBO-3404 The Beatles 1967-1970 1973.

  • [b3] stereo without crossfade.
    CD: EMI CDP 7 90803 2 Imagine/John Lennon 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [c] mono 30 Jan 1967, and mono and stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

The orchestra was recorded on 4 tracks of a separate 4-track tape (take 7) and synchronized during mixing with the Beatles tape (take 6).

The edit is for the final note, recorded separately.

The crossfade joins the beginning to the preceding Sgt Pepper (reprise). For the 1967-1970 collection [b1] [b2] and on a 1978 single, the crossfade is just cut off, so the song begins later than its real beginning. The original mix without crossfade [b3] appeared in the documentary film Imagine: John Lennon. The same original mix, also including a countdown that is not heard under the crossfade, appeared in a 1967 promo film.

The Anthology mix [c] is deliberately different and contains some material not used in the standard versions [a][b]. It contains many parts edited together: talk before take 1 (the take used for the standard version); take 2 (not the standard version) from start of song through the 24-bar count; overdubs to take 6 later wiped out for the standard version but preserved in a 30 Jan mono mix; more of take 2 for the last verse; take 2 synchronized with the orchestral overdub of the standard version; and finally talk recorded on Feb 10 and never intended to be used as the conclusion. All of this is mono until the orchestral overdub, which has been remixed to stereo. The Jan 30 overdub mono mix has been available on bootleg since 1987, and shows a different bass part throughout as well as the different Paul vocal highlighted here; but it breaks down after Paul flubs the vocal. The reverb on the 24-bar count was done during recording.


SGT PEPPER'S LONELY HEARTS CLUB BAND

basic recording- 1 Feb 1967
additional recording- 1,2 Feb, 3,6 Mar 1967
master tape- 4 track 2d generation

  • [a] mono 6 Mar 1967. crossfaded 6 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 6 Mar 1967. crossfaded 7 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

The crossfade joins this song to With a Little Help From My Friends.

The lead guitar starting around "I don't really want to stop the show" is louder in mono [a], barely there in [b]. The crowd noise differs between the two and the crossfade is less well hidden in mono [a].


GOOD MORNING GOOD MORNING

basic recording- 8 Feb 1967
additional recording- 16 Feb, 13,29 Mar 1967
master tape- 4 track 2d generation

  • [a] mono 19 Apr 1967. edited.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 6 Apr 1967. edited.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

  • [c] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

An Apr 6 mono mix was replaced by an Apr 19 mix [a] containing an improved blend of the hen cluck at the end into the first note of the next song, Sgt Pepper (reprise). Lewisohn does not say when or if the Apr 6 stereo mix was redone, and perhaps it was not. Checking the ending shows that the sound effects match in mono [a] and stereo [b] until the foxhunt, where the mono fades earlier, so that the hunt lasts about 6 seconds longer in stereo and continues past the somewhat later fadeout of the music. This may be the end of the main tape. Because of the early fade in mono [a], "Good morning good morning good" is heard only 9 times as against 10 times in stereo [b]. Both mixes then crossfade to the chicken squawk on what appears to be a separate tape, since unlike the other sound effects it does not overlap any music. The squawk is slightly longer in stereo, and blends better into the Sgt Pepper (reprise)-- the retry on the mono mix may have been to make it more like the stereo?

The lead guitar is mixed down after the break in mono [a] but on [b] it continues loud over "People running round...". After "tea and 'Meet the Wife'" the guitar phrase is treated to a little extra ADT in mono.

The Anthology mix [c] is deliberately different and appears to show the state as of Feb 16, after the vocal and bass overdub, but without the horns and the sound effecs at the end.


FIXING A HOLE

basic recording- 9 Feb 1967 at Regent Sound
additional recording- 9 Feb at Regent Sound, 21 Feb 1967
master tape- 4 track 2d generation

  • [a] mono 21 Feb 1967. edited.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 7 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

The mono is two mixes edited together. The mono is a few seconds longer, long fade.

ONLY A NORTHERN SONG

basic recording- 13 Feb 1967
additional recording- 14 Feb, 20 Apr 1967
master tape- 4 track + 4 track 2d generation (2 tapes)

  • [a] mono 21 Apr 1967.

  • [a1] mock stereo made from [a] 29 Oct 1968.
    UK: Apple PCS 7070 Yellow Submarine 1969.
    US: Apple SW 153 Yellow Submarine 1969.
    CD: EMI CDP 7 46445 2 Yellow Submarine 1987.

  • [a2] mono made from [a1] 1968.
    UK: Apple PMC 7070 Yellow Submarine 1969.

  • [b] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

The first generation, take 3, was mixed down to take 12 and overdubs added; then tracks of take 3 were wiped and overdubs added. The mono mix is made from both synchronized, mainly from 12. No attempt was made to make stereo. [a] was used in mono in the original film print of Yellow Submarine.

The Anthology mix [b] is also synchronized from tracks on different original tapes, but deliberately has different tracks mixed in, including a different lead vocal; and it is speeded up just over 2 per cent for no stated reason.


BEING FOR THE BENEFIT OF MR KITE! [outtakes]

basic recording- 17 Feb 1967
additional recording- none
master tape- 4 track

  • takes 1 and 2

    [a] stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

Talk and take 1 (breakdown), edited into talk and take 2 (breakdown), edited into talk before the standard take 7.

BEING FOR THE BENEFIT OF MR KITE!

basic recording- 17 Feb 1967
additional recording- 17,20 Feb, 28,29,31 Mar 1967
master tape- 4 track 3d generation

  • [a] mono 31 Mar 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 7 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

  • [c] stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

Mono [a] has more of the organ tape loops in the break after "Henry the horse dances the waltz", perhaps a track not faded up in the mix of [b]?

The Anthology mix [c] is deliberately different. First it shows take 7 without the organ and calliope effects, including some John scat vocal during the instrumental break that was mixed out of [a][b], and then it crossfades into the organ and calliope overdub tracks to a fadeout.


LOVELY RITA

basic recording- 23 Feb 1967
additional recording- 23,24 Feb, 7,21 Mar 1967
master tape- 4 track 2d generation

  • [a] mono 21 Mar 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 17 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

Talk just before the end is audible, the last syllables "leave it" (or "believe it"?) being quite distinct in mono [a].

LUCY IN THE SKY WITH DIAMONDS

basic recording- 1 Mar 1967
additional recording- 1,2 Mar 1967
master tape- 4 track 2d generation

  • [a] mono 3 Mar 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 7 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [c] stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

Mono [a] has quite a bit of "phasing" not in [b]-- phasing is ADT with deliberate tape speed manipulation ("flanging") for a classic pyschedelic effect. Note especially the third "Lucy" line in the first refrain, but it continues, notable again in second refrain and in instrumental part leading to third refrain. Stereo [b] sounds more natural but [a] is evidently what was desired.

A new mono mix was made 1 November 1967 for the original Yellow Submarine film print with no vocal in the first part of the first verse, so an actor for the film could be dubbed in, and this also has less phasing.

The Anthology mix [c] is deliberately different and sychronizes parts of an outtake with the standard take. It is take 6 (standard version is 7) with a tamboura from take 7 with harmony vocals in the chorus from the standard version take 8. There is no bass.


GETTING BETTER

basic recording- 9 Mar 1967
additional recording- 9,10,21,23 Mar 1967
master tape- 4 track 4th generation

  • [a] mono 23 Mar 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 17 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.


WITHIN YOU WITHOUT YOU

basic recording- 15 Mar 1967
additional recording- 22 Mar, 3 Apr 1967
master tape- 4 track 4th generation

  • [a] mono 4 Apr 1967. edited.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 4 Apr 1967. edited.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

  • [c] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

For both mono and stereo, "part 1" (apparently the first, vocal section) was mixed separately from "parts 2 and 3" (the instrumental and the final vocal part?), and those mixes were edited together.

The laughter at the end was also edited on, but [a] and [b] have a different laugh.

The Anthology [c] has a remix of the instrumental tracks without the vocal, and no laughter at the end. There are traces of the vocal: for example, listen for "you're only very small" just before the instrumental break, in the left channel, and for the last verse.


SHE'S LEAVING HOME

basic recording- 17 Mar 1967
additional recording- 20 Mar 1967
master tape- 4 track 2d generation

  • [a] mono 20 Mar 1967. edited.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 17 Apr 1967. edited.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

A short amount of instrumental work between the verses was removed after the mixing was done, so both mixes are edited. Reverb had been added during mixing, and the edits are a little more obvious in stereo [b], just before Paul starts singing the second and third verses. The two mixes are at different speeds, and we believe stereo [b] was slowed down when mixed (rather than the mono being sped up), partly because the orchestra sounds better in mono [a]. Possibly the tape was made at an off-speed, like many Sgt Pepper songs, and was played for stereo mixing at normal speed?

WITH A LITTLE HELP FROM MY FRIENDS

basic recording- 29 Mar 1967
additional recording- 29,30 Mar 1967
master tape- 4 track 3d generation

  • [a] mono 31 Mar 1967. crossfaded 6 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 7 Apr 1967. crossfaded 7 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 717 The Beatles 1967-1970 1973.
    US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

The crossfade joins this to the preceding song, Sgt Pepper, but the songs do not overlap; rather, crowd noise runs from one through to the other. This song starts right before the announcement "Billy Shears!", which is more readily apparent as a change in ambience in mono [a], since louder crowd noise covers the join better in [b].

SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE) [outtake]

basic recording- 1 Apr 1967
additional recording- none
master tape- 4 track

  • [a] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

On this outtake the band play the additional drumbeats at the beginning as heard in the standard version in mono.

SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE)

basic recording- 1 Apr 1967
additional recording- 1 Apr 1967
master tape- 4 track

  • [a] mono 1 Apr 1967. edited. crossfaded 6 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.
    US: Capitol MAS 2653 Sgt Pepper 1967.

  • [b] stereo 20 Apr 1967. edited. crossfaded 20 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SMAS 2653 Sgt Pepper 1967.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

The crossfade joins this to the following song, A Day in the Life. The edit in mono [a] is better, so the last note hits the first chord of A Day in the Life, while there is a delay in stereo [b].

Mono [a] starts with unknown spoken words not in stereo [b], then both have a countdown with someone saying "bye" (?) behind it, then [a] has more drum beats to start. During the sequence just described, crowd noise in mono [a] starts louder, dies down, then up to a cheer, while crowd noise in stereo [b] stays steady at medium volume-- the crowd noise seems to have been added during mixing. Right before the vocal is a "woo", louder in mono [a]. Toward the end in mono [a] Paul is heard shouting unintelligible phrases ("we are the greatest"?, "the band, the one and only band"? among other things) starting near the last "Sgt Pepper's lonely", while in stereo [b] John is heard nearer the end saying something like "hold my guitar for me".


[ EDIT FOR LP END / Sgt Pepper inner groove ]

basic recording- 21 Apr 1967
additional recording- none
master tape- 4 track

  • [a] mono 21 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.

  • [b] stereo 21 Apr 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.
    US: Capitol SHAL-12060 Rarities 1980.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

This 2 seconds of talk was placed in the inner groove of the Parlophone release. It was dropped for pressings some time after 1978. It is not exactly the same for all pressings due to the runout groove meeting the inner groove at different points in different LP masters. For CD it is repeated into a fadeout.

[ dog cut ]

basic recording- none
additional recording- none
master tape- none

  • [a] cut into first mono master disk 28 Apr 1967.
    UK: Parlophone PMC 7026 Sgt Pepper 1967.

  • [b] cut into first stereo master disk 1 May 1967.
    UK: Parlophone PCS 7026 Sgt Pepper 1967.

  • [c] generated 1987.
    CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

On LP this 15 KHz tone is not a recording at all, but was cut mechanically into the master disk after A Day in the Life. The dates shown [a] and [b] are of the first disk cutting for Parlophone in the UK; it was recreated at unknown dates for other master disks, but was never cut into disks by Capitol for US release. For CD it was created electronically in 1987 and put into the master digital tape used for CD production.

MAGICAL MYSTERY TOUR

basic recording- 25 Apr 1967
additional 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 (EP) Magical Mystery Tour 1967.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI EP box set 1991.

  • [b] stereo 7 Nov 1967.
    UK: Parlophone SMMT 1 (EP) Magical Mystery Tour 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: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991, EMI CDP 7 97039 2 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 and not in the film. No stereo mix is booked prior to Nov 7 either so I presume the one used on records 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 single 1967.
    US: Capitol 5964 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI single 1989.

  • [a1] mono, untrimmed.
    US: Capitol 5964 later issues, Capitol Starline A6300 1981.

  • [a2] mock stereo made from [a] 1967, by Capitol.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967.

  • [b] stereo 22 Oct 1971 at AIR.
    Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971.
    UK: Parlophone TC-PCS 3077 (cassette) Magical Mystery Tour 1976, Parlophone SGE 1 (EP) 1981.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987.

Mono [a] is 9 seconds longer, long fade, compared to [b]. The deep bass is reproduced much better in stereo [b], but special effects are missing, such as the "spin" echo effect at pauses between lines such as after "eye can see", "enough to know", etc. The untrimmed mono [a1] has the end of the word "seven" or "eleven" spoken just before the song starts.

Inexplicably the UK release of the Magical Mystery Tour LP, delayed until 1976, used Capitol masters for the LP and German Odeon masters for the cassette, so the stereo version was available in the UK only on cassette.


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: EMI CDP 7 46445 2 Yellow Submarine 1987.

  • [a1] mono made 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: Apple R5833 single 1970, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    US: Apple 2764 single 1970, Capitol SHAL-12060 Rarities 1980.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI single 1989.

  • [b] stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

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.

The deliberately different Anthology mix [b] shows the 5 parts clearly with the inclusion of part 2 (ska beat) that was cut entirely from [a], as well as a little bit of new material from part 3 (Slaggers). However almost half a minute of part 4 (high voices) heard in [a] is missing in [b], and the ending fades out just before the true ending heard in [a].


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: EMI CDP 7 46445 2 Yellow Submarine 1987.

  • [a1] mono made from [a] 1968. edited.
    UK: Apple PMC 7070 Yellow Submarine 1969.

An excerpt of an 8:25 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]. The additional material includes another verse and chorus (the original third chorus and fourth verse) and runs longer at the end. This has been bootlegged in mono.

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 single R5620 1967.
    US: Capitol 5964 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI single 1989.

  • [a1] mock stereo made 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: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 46445 2 Yellow Submarine 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [b1] mono made from [b] 1968.
    UK: Apple PMC 7070 Yellow Submarine 1969.

In the intro, the mono version [a] has more horns but less drums, and the piano heard in stereo [b] is not audible. In the guitar solo, the lead guitar is louder in mono [a] and has more flanging, but ends by being cut off awkwardly, while in stereo [b] it fades down but can still be heard during the brass section. The mono version [a] has a longer fade by 10 seconds so that Greensleeves is heard twice. In stereo [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.

The live television broadcast on June 25, which has been bootlegged, has a tambourine instead of a drumroll at the opening, and a different lead vocal, and additionally parts of the backing tracks were heard before the performance.


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 (EP) Magical Mystery Tour 1967.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI EP box set 1991.

  • [b] stereo 6 Nov 1967.
    UK: Parlophone SMMT 1 (EP) Magical Mystery Tour 1967.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991.

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 single 1967, Parlophone MMT 1 (EP) Magical Mystery Tour 1967.
    CD: EMI single 1989, EMI EP box set 1991.

  • [a1] mono 29 Sep 1967. edited.
    US: Capitol 2056 single 1967.

  • [a2] mono made from [a1] 1967, by Capitol.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.

  • [b] stereo, and mock stereo made from [a], 6,17 Nov 1967. edited.
    UK: Parlophone SMMT 1 (EP) Magical Mystery Tour 1967, Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Capitol SV-12199 Reel Music 1982.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [b1] stereo, and mock stereo made 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 stereo made from [b], and mock stereo made from [a1] 1980, by Capitol.
    Capitol: SHAL-12060 Rarities 1980.

  • [c] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

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, which is an edit of mono mix 10, up to the end of the second "Goo Goo Gajoob", into mono mix 22. Mix 22 is the one with the radio sound mixed in, from a BBC broadcast of King Lear. [a] has three edits, all in the first part of the song (originally from mono mix 10): 2 of the 6 beats in the intro are cut off; a cymbal crash at the first "Goo Goo Gajoob" is mixed out; and a few beats after "I'm crying" are edited out.

Mono [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 an early copy of mix 23 before the last edit was done. Mono [a2] appears to be an attempt to edit those beats out of [a1], to sound like [a], but the edit is slightly different.

Stereo [b] is a 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 include the radio, which was added sound-on-sound to that one 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 to pan 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 back in, in mock stereo made from [a1], 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.

The Anthology mix [c] is deliberately different and entirely omits the orchestra and choral singers, and filters out much of the bass. It has the 6-beat intro and the cymbal crash after verse 1. The extra beats after "I'm crying" are revealed to be a miscue with a vocal that was mixed out in [a1], and of course the whole thing is edited out otherwise. (A mono mix available on bootleg since 1978 has that vocal mixed out and has bass; perhaps this is a later state than [c].)


THE FOOL ON THE HILL [demo outtake]

basic recording- 6 Sep 1967
additional recording- none
master tape- 4 track

  • [a] mono 6 Sep 1967.
Called a demo on Anthology 2. Probably mixed the same day. This has been bootlegged since 1978.

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 (EP) Magical Mystery Tour 1967.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991.

  • [b] mono 7 Nov 1967. edited.
    UK: Parlophone MMT 1 (EP) Magical Mystery Tour 1967.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI EP box set 1991.

Lewisohn notes editing but does not explain.

Stereo [a] includes a backing vocal track mixed center, part of it backwards, that is hardly used at all in mono [b]. The source of the backwards vocals that are faded in and out seems to be another tape of the whole song being played backwards. All the mixes have a very heavy use of phasing with a particularly long delay.

The 1988 stereo mix for home video Magical Mystery Tour makes very little use of the backing vocal track, so it is more like the mono mix [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 (EP) Magical Mystery Tour 1967.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI EP box set 1991.

  • [b] stereo 7 Nov 1967. edited.
    UK: Parlophone SMMT 1 (EP) Magical Mystery Tour 1967.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991.

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. The mono [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].

YOUR MOTHER SHOULD KNOW [outtake]

basic recording- 16 Sep 1967
additional recording- none
master tape- 4 track

  • [a] stereo 1995.

    CD: Apple CDP 8 34448 2 Anthology 2 1996.

A remake, not part of the standard version that was begun before and finished after this date.

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 (EP) Magical Mystery Tour 1967.
    US: Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI EP box set 1991.

  • [b] stereo 1 Nov 1967. edited.
    UK: Parlophone SMMT 1 (EP) Magical Mystery Tour 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: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI EP box set 1991, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [c] stereo 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

The editing is unspecified by Lewisohn but shortened the song by over a minute from the longest state. In mono [a] the vocal track is faded out a little sooner in the fadeout. The home video Magical Mystery Tour uses a 1988 stereo mix that is similar to these two.

The Anthology mix [c] is deliberately different, showing the state at the end of the first day and showing why Lewisohn calls the overdub and editing "almost a remake" in his Recording Sessions: it has a different lead vocal and a prominent guitar rhythm section missing from the standard mixes.


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 single 1967.
    US: Capitol 2056 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI single 1989.

  • [b] stereo 6 Nov 1967.
    UK: Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970.

  • [c] stereo 1995.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

The Anthology mix [c] is deliberately different, showing the state at the 2d or 3d generation of the master, including some guitar parts not in the standard versions.

CHRISTMAS TIME IS HERE AGAIN [compilation]

basic recording- 28 Nov 1967
additional recording- 6 Dec 1966
master tape- 24 track 2d generation

  • [a] stereo 1995.
    CD: Apple C2 8 58497 Free as a Bird 1995.

This compilation joins part of the title song to some greetings recorded for radio in 1966 (not for the 1966 Christmas record) to a short spoken performance by John Lennon. The first and last parts, making up almost all of the compilation, were made for the 1967 Christmas record, but the song appears here in very different form, in stereo for the first time, and running longer and including parts not used at all on the Christmas disk.
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