The Usenet Guide to Beatles Recording Variations

1968

Version 2
compiled by Joseph Brennan


THE INNER LIGHT

basic recording- 12 Jan 1968 at EMI Bombay, India
additional recording- 6,8 Feb 1968
master tape- 4 track 2d generation

  • [a] mono 8 Feb 1968.
    UK: Parlophone R5675 single 1968, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    US: Capitol 2138 single 1968, Capitol SHAL-12060 Rarities 1980.
    CD: EMI single 1989.

  • [b] stereo 27 Jan 1970.
    UK: Parlophone SGE 1 (EP) 1981.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988.

The stereo mix sat unused for a long time!

During the opening instrumental section, a mystery instrument that may be a shehnai is different and better in mono [a]: in its first section, it is stronger, lasts longer, and rises at the end, where in stereo [b] it is less complex and trails off. If the mono version is using some sort of edit piece or overdub, which seems likely, they missed it when doing the stereo mix two years later.


LADY MADONNA

basic recording- 3 Feb 1968
additional recording- 3,6 Feb 1968
master tape- 4 track 3d generation

  • [a] mono 15 Feb 1968.
    UK: Parlophone R5675 single 1968.
    US: Capitol 2138 single 1968.
    CD: EMI single 1989.

  • [b] stereo 2 Dec 1969.
    UK: Apple PCSP 718 The Beatles 1967-70 1973.
    US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

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

The decay on the last piano note is cut off on both mixes but lasts longer in mono [a].

The Anthology mix [c] is deliberately different. All the basic tracks of 3 tape generations are synchronized and remixed with drums, bass and sax mixed down or out. There is a sound in the decay of the last note that, if it is in the piano track, explains why that's cut short in [a][b].


ACROSS THE UNIVERSE [outtake]

basic recording- 4 Feb 1968
additional recording- 4 Feb 1968
master tape- 4 track

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

This is take 2, called "gorgeous" by Lewisohn in his Recording Sessions, given overdubs on the same day, but then set aside as work continued, leading to the standard version. It's dated to 3 Feb in the Anthology booklet but that appears to be an error since Recording Sessions dates it using the original recording sheets.

ACROSS THE UNIVERSE

basic recording- 4 Feb 1968
additional recording- 4,8 Feb 1968, 1 Apr 1970
master tape- 4 track 2d generation

  • [a] stereo 2 Oct 1969.
    UK: Regal Starline SRS 5013 No One's Gonna Change Our World 1970,
    Parlophone PSLP 261 and PCM 1001 Rarities 1978-79, Parlophone PCS 7214 Ballads 1980.
    US: Capitol SHAL-12060 Rarities 1980.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988.

  • [b] stereo 2 Apr 1970.
    UK: Apple PXS1 and PCS 7096 Let It Be 1970, Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Apple AR 34001 Let It Be 1970, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46447 2 Let It Be 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

Neither of these is at the recorded speed; the old mix [a] is faster and the new mix [b] is slower than the original tape. The finished mono mix made in Feb 1968 has never been issued. [a] has animal sounds overdubbed during mixing for SRS 5013, a benefit album for the World Wildlife Fund. [b] has most of the original instrumentation mixed out and replaced by new orchestra and choral vocals recorded in 1970.

HEY BULLDOG

basic recording- 11 Feb 1968
additional recording- 11 Feb 1968
master tape- 4 track

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

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

An 11 February 1968 mono mix was in the film print used at the London premiere of Yellow Submarine, but the song was then dropped from the film entirely. The version of the film with the song has occasionally appeared in the UK but is not the standard version there either.

PIGGIES [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] mono 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.


HONEY PIE [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] stereo 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.


JUNK [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] stereo 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.


HAPPINESS IS A WARM GUN [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] mono 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Not listed in Lewisohn's "Chronicle" as from Esher.

MEAN MR MUSTARD [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] stereo 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Not listed in Lewisohn's "Chronicle" as from Esher.

POLYTHENE PAM [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] stereo 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Not listed in Lewisohn's "Chronicle" as from Esher.

GLASS ONION [demo]

basic recording- May 1968, Harrison home, Esher
additional recording- none
master tape- 4-track
  • [a] stereo 1996?.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Not listed in Lewisohn's "Chronicle" as from Esher.

REVOLUTION 1

basic recording- 30 May 1968
additional recording- 31 May, 4,21 Jun 1968
master tape- 4 track 4th generation

  • [a] stereo 25 Jun 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [a1] mono made from [a] 1968.
    UK: Apple PMC 7068 white album 1968.


REVOLUTION 9

basic recording- 30 May 1968
additional recording- 6,10,11,20,21 Jun 1968
master tape- 4 track

  • [a] stereo 21,25 Jun 1968. edited.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [a1] mono made from [a] 1968.
    UK: Apple PMC 7068 white album 1968.

Tape loops prepared on Jun 6-11 were fed into the master on Jun 20-25. The basic track was the end of Revolution 1 (see above). Editing shortened the piece by almost a minute.

Although the mono was made from the stereo, the opening lines are more clear in mono: "I would've gotten claret for you but I've realized I've forgotten all about it, George, I'm sorry. Will you forgive me?". This is evidently a separate piece of tape added during mixing.

Revolution 9 is preceded on the white album by a short song not listed on the album, Can You Take Me Back, which was recorded after Revolution 9 was mixed. It is listed separately here (below).


DON'T PASS ME BY

basic recording- 5 Jun 1968
additional recording- 5,6 Jun, 12,22 Jul 1968
master tape- 4 track 3d generation

  • [a] mono 11 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.
    US: Capitol SHAL-12060 Rarities 1980.

  • [b] stereo 11 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [c] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Mono [a] runs faster, and it has more fiddle throughout the song, and different fiddle at the end. The fiddle at the end of stereo [b] seems to a repeat of a bit of the chorus. The edit added the intro.

Stereo [c] has only work from 5 and 6 June without the fiddle or intro added in July. It's at the speed of the stereo mix [b].


BLACKBIRD [outtake]

basic recording- 11 Jun 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

BLACKBIRD

basic recording- 11 Jun 1968
additional recording- 11 Jun 1968
master tape- 4 track

  • [a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

The overdubs of bird sounds were done differently, during mixing.

EVERYBODY'S GOT SOMETHING TO HIDE EXCEPT ME AND MY MONKEY

basic recording- 27 Jun 1968
additional recording- 27 Jun, 1,2,3 Jul 1968
master tape- 4 track 4th generation

  • [a] stereo 12 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 12 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

The screaming after "come on" in the last verse is different in [a] and [b].

GOOD NIGHT [outtake]

basic recording- 28 Jun 1968 and 22 Jul 1968
additional recording- 22 Jul 1968
master tape- 4 track

  • [a] stereo 1996. edited.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
Edit of a June 28 piano outtake not listed in Lewisohn's books into a remix of the standard version.

OB-LA-DI, OB-LA-DA [outtake]

basic recording- 3 Jul 1968
additional recording- 3,4,5 Jul 1968
master tape- 4 track 2d generation

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

OB-LA-DI, OB-LA-DA

basic recording- 8 Jul 1968
additional recording- 8,9,15 Jul 1968
master tape- 4 track 3d generation

  • [a] stereo 12 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCSP 718 The Beatles 1967-1970 1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46443 2 white album 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

  • [b] mono 12 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

The mono [b] lacks handclaps in the intro, heard in [a].

REVOLUTION [2]

basic recording- 10 Jul 1968
additional recording- 10,11,12 Jul 1968
master tape- 4 track 4th generation

  • [a] mono 15 Jul 1968.
    UK: Apple R5722 single 1968.
    US: Apple 2276 single 1968.
    CD: EMI single 1989.

  • [b] stereo 5 Dec 1969.
    US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970 1973.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1973.

The song was deliberately distorted during recording and mixing, so since the mono [a] sounds more distorted and compressed, it's better! John's guitar also sounds louder in mono [a].

CRY BABY CRY [outtake]

basic recording- 16 Jul 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

CRY BABY CRY

basic recording- 16 Jul 1968
additional recording- 16,18 Jul 1968
master tape- 4 track 2d generation

  • [a] stereo 15 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 15 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

The US Apple release has a drop in sound level during "by the children" in the last verse, probably a tape problem.

HELTER SKELTER [outtake]

basic recording- 18 July 1968
additional recording- none
master tape- 4 track
  • [a] mono 1996?. edited.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

Edited from 12 minutes to under 5.

SEXY SADIE [outtake]

basic recording- 19 Jul 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

GOOD NIGHT

basic recording- 22 Jul 1968
additional recording- 22 Jul 1968
master tape- 4 track

  • [a] mono 11 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 11 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Stereo [b] fades in; [a] does not.

WHILE MY GUITAR GENTLY WEEPS [outtake]

basic recording- 25 Jul 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1984 at AIR Studios, Montserrat. edited.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
This version was prepared for the Sessions LP in 1984. The ending has been looped to repeat into a fadeout. A tape with the real ending was played at the Abbey Road show in 1983 and has been bootlegged.

HEY JUDE [outtake]

basic recording- 29 Jul 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

HEY JUDE

basic recording- 31 Jul 1968 at Trident
additional recording- 31 Jul, 1 Aug 1968 at Trident
master tape- 8 track

  • [a] mono 8 Aug 1968.
    UK: Apple R5722 single 1968.
    US: Apple 2276 single 1968.
    CD: EMI single 1989.

  • [b] stereo 5 Dec 1969.
    US: Apple SW 385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970 1973.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

Drums are mixed louder in stereo [b]. Mono [a] is 5 seconds longer than the longest appearance of [b], long fade. This song has appeared with early fades on some compilations (in stereo).

NOT GUILTY [outtake]

basic recording- 8 Aug 1968
additional recording- 9,12 Aug 1968
master tape- 4 track 2d generation

  • [a] stereo 1984 at AIR Studios, Montserrat. edited.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
This version was mixed and edited for the Sessions LP. Comparison to another mix that has been bootlegged shows extensive editing and some use of tape loops. Among other things a short guitar solo and one line of lyric are edited out here.

MOTHER NATURE'S SON [outtake]

basic recording- 9 Aug 1968
additional recording- none
master tape- 4 track 2d generation

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

MOTHER NATURE'S SON

basic recording- 9 Aug 1968
additional recording- 20 Aug 1968
master tape- 4 track 2d generation

  • [a] stereo 12 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 12 Oct 1968.
    UK: Apple PMC 7068 white album 1968.


SEXY SADIE

basic recording- 13 Aug 1968
additional recording- 21 Aug 1968
master tape- 4 track 4th generation

  • [a] mono 21 Aug 1968.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Stereo [b] has an extra tap at the start. Mono [a] lacks bass until the vocal starts.

YER BLUES

basic recording- 13 Aug 1968
additional recording- 13,14,20 Aug 1968
master tape- 4 track 2d generation

  • [a] mono 14,20 Aug 1968. edited.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 20 Oct 1968. edited.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

The 2d generation tape is an edit of two takes, each of the two tapes being itself a mixdown from the original 4-track. The edit causes an abrupt transition at the end of the guitar solos. In stereo, traces of other vocal and guitar parts can be heard throughout the song in the left channel, including something shouted over parts of the vocal and what sounds like another different guitar solo. After the edit, the trace lead vocal suggests we are hearing the first part of the song from the other take.

The edit in the mixes added the countdown intro, which is louder in mono [a]. [a] is 11 seconds longer, long fade.


WHAT'S THE NEW MARY JANE [outtake]

basic recording- 14 Aug 1968
additional recording- 14 Aug 1968
master tape- 4 track

  • [a] stereo 1984 at AIR Studios, Montserrat. edited.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
This version is not any of those prepared under John Lennon's supervision in 1968 and 1969, several of which have appeared on bootlegs, but is a new version made for the Sessions LP in 1984. It is not just a remix; sound effects have been introduced, and the long end section has been edited considerably. For example, none of Lennon's mixes put lines of the song into the end section.

ROCKY RACCOON [outtake]

basic recording- 15 Aug 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
This shows that the intro to the standard version is an ad lib or at best had just been worked out before recording.

ROCKY RACCOON

basic recording- 15 Aug 1968
additional recording- 15 Aug 1968
master tape- 4 track 2d generation

  • [a] mono 15 Aug 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 10 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.


WILD HONEY PIE

basic recording- 20 Aug 1968
additional recording- 20 Aug 1968
master tape- 4 track

  • [a] mono 20 Aug 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Of the two vocal tracks, one is louder in [b], the other in [a].

BACK IN THE U.S.S.R.

basic recording- 22 Aug 1968
additional recording- 22,23 Aug 1968
master tape- 4 track 2d generation

  • [a] mono 23 Aug 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCS P718 The Beatles 1967-1970 1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46443 2 white album 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

The plane sound effects differ in [a] and [b]. Mono [a] has louder piano, a yell after the opening plane sound, and drumbeats under the closing plane sound. Stereo [b] has extra guitar chords at the start of the solo, and shouts and piano during the guitar solo.

DEAR PRUDENCE

basic recording- 28 Aug 1968 at Trident
additional recording- 28,29,30 Aug 1968 at Trident
master tape- 8 track

  • [a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

Stereo [a] has slightly more treble and fades to a lower volume at the end.

WHILE MY GUITAR GENTLY WEEPS

basic recording- 5 Sep 1968
additional recording- 6 Sep 1968
master tape- 8 track

  • [a] mono 14 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 14 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCS P718 The Beatles 1967-1970 1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: EMI CDP 7 46443 2 white album 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

This is the first 8 track recording (by anyone) at EMI Abbey Road.

The Clapton guitar remains loud in mono [a] after the solo break, not in [b]. Near the end of the fadeout only the stereo [b] has "yeah yeah yeah", even though it is a few second shorter than [a].


HELTER SKELTER

basic recording- 9 Sep 1968
additional recording- 9,10 Sep 1968
master tape- 8 track

  • [a] mono 17 Sep 1968. edited.
    UK: Apple PMC 7068 white album 1968.
    US: Capitol SHAL12060 Rarities 1980.

  • [b] stereo 12 Oct 1968. edited.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

The basic song runs about 3:10 to a pause shortly after Paul's distorted vocal, too close to the microphone. Mono [a] then is edited into more of the same take, with sound effects noises, and fades at 3:36. Stereo [b] is edited instead to a different part of the take, fading out and then back in again, with another edit, ending finally at 4:29 after Ringo shouts "I've got blisters on my fingers!".

Is the distorted vocal "Can you hear me speaking-- woo!" or "My baby is sleeping, ooh!, dreaming"?


GLASS ONION

basic recording- 11 Sep 1968
additional recording- 12,13,16 Sep, 10 Oct 1968
master tape- 8 track

  • [a] stereo 10 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 10 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.

  • [c] mono 26 Sep 1968.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
The edit adds the end orchestral piece. Stereo [a] is lacking Paul's added vocal "oh yeah" at the end of the break.

Mono mix [c] has various sound effects, of which only the whistle after "fool on the hill" was used in the standard mix. The orchestra was added on Oct 10 and used for the standard versions.


I WILL [outtake]

basic recording- 16 Sep 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

[ CAN YOU TAKE ME BACK ]

basic recording- 16 Sep 1968
additional recording- none
master tape- 4 track

  • [a] mono 16 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 17 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

A segment of this improvisation was placed between Cry Baby Cry and Revolution 9; it was recorded as a take of I Will.

STEP INSIDE LOVE / LOS PARANOIAS [outtake]

basic recording- 16 Sep 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.
This was yet another digression recorded as a take of I Will, faded out for Anthology before completion.

I WILL

basic recording- 16 Sep 1968
additional recording- 17 Sep 1968
master tape- 8 track 2d generation

  • [a] mono 26 Sep 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 14 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

This started as 4 track and was copied to 8 track, so it's 2d generation. The "bass" (vocal) starts later in mono [a], after the first verse.

BIRTHDAY

basic recording- 18 Sep 1968
additional recording- 18 Sep 1968
master tape- 8 track 2d generation

  • [a] mono 18 Sep 1968.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

The last "daaaance" starts twice, maybe a double-track error or a leak from a guide vocal, as heard on stereo [b], but covered up by other sound in [a].

PIGGIES

basic recording- 19 Sep 1968
additional recording- 20 Sep, 10 Oct 1968
master tape- 8 track 2d generation

  • [a] mono 11 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 11 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

The overdubs of pig sounds differ. The guitar is louder in mono [a].

HAPPINESS IS A WARM GUN

basic recording- 24 Sep 1968
additional recording- 25 Sep 1968
master tape- 8 track 2d generation

  • [a] mono 26 Sep 1968. edited.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 15 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

The 2d generation master is an edit of (copies of) two takes with more material overdubbed. Mono [a] has tapping (organ) on the beat from the start until the drums come in, but it is soft and mixed out 4 beats earlier in [b]. In the "I need a fix" section in stereo [b], by error, although the first line was mixed out, the last "down" is just audible. Mono [a] has louder bass in the "I need a fix" section. Mono [a] has laughter near the very end, just before the last drumbeat, not heard in [b].

HONEY PIE

basic recording- 1 Oct 1968 at Trident
additional recording- 2,4 Oct 1968 at Trident
master tape- 8 track

  • [a] mono 5 Oct 1968 at Trident.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 5 Oct 1968 at Trident.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Mono [a] has the full lead guitar break, slightly shortened in [b].

SAVOY TRUFFLE

basic recording- 3 Oct 1968 at Trident
additional recording- 3,5,11,14 Oct 1968 at Trident
master tape- 8 track

  • [a] mono 14 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

  • [b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Mono [a] has sound effects during the instrumental break, and the lead guitar continues through the break into the refrain after it. The organ is missing from the last verse in [a].

MARTHA MY DEAR

basic recording- 4 Oct 1968 at Trident
additional recording- 4,5 Oct 1968 at Trident
master tape- 8 track

  • [a] mono 5 Oct 1968 at Trident.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 5 Oct 1968 at Trident.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

This has a lot of tape hiss.

LONG LONG LONG

basic recording- 7 Oct 1968
additional recording- 7,8,9 Oct 1968
master tape- 8 track

  • [a] stereo 10 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 14 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

Doubletracking starts at the first "long" in stereo [a], the third "long" in [b], and sounds somewhat different thereafter. In mono [b] the rhythm guitar is softer but the lead guitar is louder, especially in the later part of the song.

I'M SO TIRED [outtake]

basic recording- 8 Oct 1968
additional recording- none
master tape- 8 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

I'M SO TIRED

basic recording- 8 Oct 1968
additional recording- 8 Oct 1968
master tape- 8 track

  • [a] mono 15 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 15 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US:Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Paul's harmony at the first "You'd say" is louder in mono [a]. The muttering after the song is part of this recording.

THE CONTINUING STORY OF BUNGALOW BILL

basic recording- 8 Oct 1968
additional recording- 8 Oct 1968
master tape- 8 track

  • [a] stereo 9 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 9 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.

The guitar intro is one of the sample tapes included in a mellotron, played by an unknown person, and is part of this recording. The "eh up" after the song is also part of this recording.

WHY DON'T WE DO IT IN THE ROAD [outtake]

basic recording- 9 Oct 1968
additional recording- none
master tape- 4 track

  • [a] mono 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

WHY DON'T WE DO IT IN THE ROAD

basic recording- 9 Oct 1968
additional recording- 9,10 Oct 1968
master tape- 4 track 2d generation

  • [a] mono 16 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

  • [b] stereo 16 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

Mono [a] lacks handclaps in the intro.

JULIA [outtake]

basic recording- 13 Oct 1968
additional recording- none
master tape- 4 track

  • [a] stereo 1996.
    CD: Apple CDP 8 34451 2 Anthology 3 1996.

JULIA

basic recording- 13 Oct 1968
additional recording- 13 Oct 1968
master tape- 4 track

  • [a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: EMI CDP 7 46443 2 white album 1987.

  • [b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.


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