Beatlefan.Net: Beatles Info, Lyrics, Quiz and Store
The Beatles

Beatles Song Variations

Post: 13466 of 13540 Xref: jackatak rec.music.beatles:13466 
From: brennan@watsun.cc.columbia.edu (Joseph Brennan)
Newsgroups: rec.music.beatles
Subject: Variations List, 0 of 0-4
Date: 13 Apr 1994 04:38:16 GMT
Organization: Columbia University Lines: 398
NNTP-Posting-Host: watsun.cc.columbia.edu

The Usenet Guide to Beatles Recording Variations
compiled by Joseph Brennan copyright 1994
-----

INTRO:

WHAT'S A VARIATION, AND WHY DO WE CARE?
Fans often play their favorite recordings over and over, and find
they have memorized many small nuances of the performance on
record.

Sometimes, when they listen to a song on a new record, they detect
a variation in what is otherwise a very familiar recording.
There may be a voice or instrument in one version that is not in
the other, for example.

This is a variation. Just when people started noticing Beatles
variations is lost in the mists of time, but by the end of The
Beatles' recording career as a group in 1970, lists of variations
had become a perennial topic among some fans.

One's credentials as a Beatles fan need not rest on whether one can
recognize most of the variations.

Plenty of genuine fans feel this is one of the most obsessive and
boring topics imaginable, and would much rather discuss the meaning
of the lyrics, the invention of the melody, or the background of
the song in the Beatles' lives and times.
But who cares about all that, eh?
No no, that's not what I mean...

The variations let us in on a little bit about how the recordings
were made and prepared for release.

The differences tell us something about how the sound appears on
the master tapes, and about what the engineers did to make records
out of them.

At least, they tell us something if we care to ask -how- the
variations happened.

-----

LOVE ME DO [1] basic recording- 4 Sep 1962 additional recording- 4
Sep 1962 master tape- twintrack 2d generation [no longer exists]
[a] mono 4 Sep 1962.

 UK: Parlophone R4949 first issue 1962.

 Canada: Capitol 72076 1962. [a1] mono copy of [a].

 UK: Parlophone PSLP261/PCM1001 Rarities 1978-79.

 US: Capitol SHAL12060 Rarities 1980.

 CD: Past Masters 1 1988.
Ringo drumming, no tambourine (see Love Me Do [2]).
EMI practice at this time was not to keep the session master once 
mixing was complete, and in this case the mono mix master tape [a] 
was lost by end of 1962 and replaced by Love Me Do [2] on all 
further releases.
The reissues [a1] used original records as masters-- they may all 
be different transfers from vinyl but they sound alike.
-----
P.S. I LOVE YOU basic recording- 11 Sep 1962 additional recording- 
none master tape- twintrack 2d generation [no longer exists]
[a] mono 4 Sep 1962.

 UK: Parlophone R4949 1962, Parlophone PMC1202 Please Please Me 
1963.

 US: Vee Jay VJLP1062 Introducing first issue 1963, Tollie 9008 
1964.

 CD: Please Please Me 1987. [a1] mock from [a] 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963.

 US: Capitol ST2309 The Early 1965. [a2] mono made from [a1] 1965, 
by Capitol.

 US: Capitol T2309 The Early 1965.
-----
LOVE ME DO [2] basic recording- 11 Sep 1962 additional recording- 
11 Sep 1962 master tape- twintrack 2d generation [no longer exists]
[a] mono 11 Sep 1962.

 UK: Parlophone R4949 after first issue, Parlophone PMC1202 Please 
Please
Me 1963.

 US: Vee Jay VJLP1062 Introducing first issue 1963, Tollie 9008 
1964.

 CD: Please Please Me 1987, The Beatles 1962-1966 1993. [a1] mock 
from [a] 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963, Apple PCSP717 The 
Beatles 1962-1966 1973.

 US: Capitol ST2309 The Early 1965, Apple SKBO3403 The Beatles 
1962-1966 1973. [a2] mono made from [a1] 1965, by Capitol.

 US: Capitol T2309 The Early 1965.
Ringo on tambourine (see Love Me Do [1]).
This was the "common" version until Past Masters 1 made the other 
version also easily available.
George Martin does not recall substituting one version for another 
so it may have happened by error.
-----
PLEASE PLEASE ME [1] basic recording- 26 Nov 1962 additional 
recording- 26 Nov 1962 master tape- twintrack 2d generation
[a] mono 26 Nov 1962. edited.

 UK: Parlophone R4983 1963, Parlophone PMC1202 Please Please Me 
1963.

 US: Vee Jay VJ498 1963, Vee Jay VJLP1062 Introducing second issue 
1963.

 CD: Please Please Me 1987, The Beatles 1962-1966 1993.
The 5 segments with harmonica overdubs are edit pieces, from the 
evidence of Please Please Me [2]-- see below.
-----
PLEASE PLEASE ME [2] basic recording- 26 Nov 1962 additional 
recording- 26 Nov 1962 master tape- twintrack 2d generation
[a] stereo 25 Feb 1962. edited.

 UK: Parlophone PCS3042 Please Please Me 1963, Apple PCSP717 The 
Beatles 1962-1966 1973. [a1] stereo remixed from [a] 1965, by
Capitol.

 US: Capitol ST2309 The Early 1965, Apple SKBO3403 The Beatles 
1962-1966 1973. [a2] mono from [a] 1965, by Capitol.

 US: Capitol T2309 The Early 1965.
I propose that Please Please Me [1] and [2] were made from 
different takes with the same 5 harmonica edit pieces dropped in.
Lewisohn, although failing to comment on the differences here, does 
report the mono was mixed from "unknown takes", a lack of 
documentation that paved the way for using a different take for the 
stereo, by mistake.
The stereo version [2] has the famous collision in verse 3 on "You 
know you never even try"/"Why do I never even try", followed by the 
laugh on "Come on come on", but the two have differences in the 
vocal all the way through-- for example compare the word "try" in 
the second line.
John's voice is rougher on [1].
Since the harmonica overdubs were done only once, but the takes are 
demonstrably different based on the vocals, the harmonica must be 
edit pieces cut into two different but similar takes.
(The song From Me to You, made a few months later, definitely has 
harmonica dubbed in via edit pieces, evidenced by Lewisohn's report 
and bootleg tapes.)
-----
ASK ME WHY basic recording- 26 Nov 1962 additional recording- none 
master tape- twintrack
[a] mono 26 Nov 1962.

 UK: Parlophone R4983 1963, Parlophone PMC1202 Please Please Me 
1963.

 US: Vee Jay VJ498 1963, Vee Jay VJLP1062 Introducing second issue 
1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1962.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 The Early 1965.
-----
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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963, Tollie 9008 1964.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] ?1980, by Capitol.

 US: Capitol SHAL12060 Rarities 1980, Capitol B5624 1986.
[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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963. edited.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol 5112 1964, Capitol T2047 Meet the Beatles 1964. [b3] 
stereo remixed from [b] 1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.
[a] is missing "1 2 3" in the countdown on the Vee Jay issue.
[b] has a drop in volume in verse 3 near "we danced through the 
night" which is corrected in [b3], which also has the two tracks 
brought slightly to center.
The edit in the master is believed to join the countdown onto the 
rest.
-----
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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963, Vee Jay VJ587 1964.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 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 PMC1202 Please Please Me 1963.

 CD: Please Please Me 1987. [b] mono 25 Feb 1963.

 US: Vee Jay VJLP1062 Introducing 1963. [c] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [c1] stereo remixed 
from [c] ?1980, by Capitol.

 US: Capitol SHAL 12060 Rarities 1980.
The intro, before the vocal, is shorter in [a] than the others, 
edited.
In [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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 The Early 1965.
-----
BOYS basic recording- 11 Feb 1963 additional recording- none master 
tape- twintrack
[a] mono 25 Feb 1963.

 UK: Parlophone PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 The Early 1965. [b3] stereo remixed from [b] 
1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.
-----
CHAINS basic recording- 11 Feb 1963 additional recording- none 
master tape- twintrack
[a] mono 25 Feb 1963.

 UK: Parlophone PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 UK: Capitol T2309 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 PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 The Early 1965.
-----
TWIST AND SHOUT basic recording- 11 Feb 1963 additional recording- 
none master tape- twintrack
[a] mono 25 Feb 1963.

 UK: Parlophone PMC1202 Please Please Me 1963.

 US: Vee Jay VJLP1062 Introducing 1963.

 CD: Please Please Me 1987. [b] stereo 25 Feb 1963.

 UK: Parlophone PCS3042 Please Please Me 1963. [b1] stereo remixed 
from [b] 1965, by Capitol.

 US: Capitol ST2309 The Early 1965. [b2] mono from [b] 1965, by 
Capitol.

 US: Capitol T2309 The Early 1965. [b3] stereo remixed from [b] 
1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976. [b4] stereo 
remixed from [b] ?1986.

 US: Capitol B5624 1986.
[b3] has the two tracks moved slightly to center.
[b4], probably made for the film Ferris Bueller's Day Off, 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 1963, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Vee Jay VJ522 1963.

 CD: Past Masters 1 1988, The Beatles 1962-1966 1993. [b] stereo 14 
Mar 1963. edited.

 Germany: Odeon 1C062-04363 Beatles Beat 1964.

 Germany and Holland: Odeon 1C062-04362 Beatles Greatest 1965.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 Australia: Parlophone PCSO7533 Greatest Hits 1 1965.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717
The Beatles 1962-1966 1973.

 US: Apple SKBO3403 The Beatles 1962-1966 1973.
The intro is an edit piece that has a harmonica overdub on it in 
[a], but in [b] we hear the basic edit piece without the harmonica 
and in mono; the song cuts to stereo after it.
The other harmonica overdubs (also edit pieces) were mixed into 
both tracks so they sound centered when heard in stereo.
Two other edit pieces of vocals that were made may have also been 
used.
Claims that [b] is not mixed but just the master tape are nonsense.
It is neither the original tape, since it has the edit pieces in, 
nor a submaster from which [a] was mixed, since it has a different 
piece at the beginning. It is a distinct mix.
-----
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 1963, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Vee Jay VJ522 1963.

 CD: Past Masters 1 1988. [b] stereo 13 Mar 1963. edited.

 US: Capitol ST2080 Second 1964.

 Germany: Odeon 1C062-04363 Beatles Beat 1964. [b1] mono from [b] 
1964, by Capitol.

 US: Capitol T2080 Second 1964.
[b] has harmonica edit pieces in the middle and at the end that 
were not used for [a], and has more echo.
As with From Me to You, the harmonica was mixed into both tracks 
and appears centered when heard in stereo.
-----
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 1963, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Swan 4152 1963.

 CD: Past Masters 1 1988. [a1] mock from [a] 1964, by Capitol.

 US: Capitol ST2080 Second 1964.

 Germany: Odeon 1C062-04363 Beatles Beat 1964. [a2] mono from [a] 
1964, by Capitol.

 US: Capitol T2080 Second 1964. [a3] mock from [a] 8 Nov 1966.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717 
The Beatles 1962-1966 1973. [a4] mock from [a] 1973, by Capitol.

 US: Apple SKBO3403 The Beatles 1962-1966 1973. [a5] mono from [a] 
1992.

 CD: EP box set 1992, The Beatles 1962-1966 1993.
Additional mock stereo mixes have appeared.
The master tape of this and I'll Get You is said to have been 
stolen in 1963 and may still exist; officially it was lost.
There is at least one edit: in verse 3, "pride can hurt you too, 
apologize to her" is cut in from an edit piece or another take.
[a5] sounds better than [a], but is a sonic restoration made from 
[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 1963, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Swan 4152 1963, Swan 4182 1964.

 CD: Past Masters 1 1988. [a1] mock from [a] 1964, by Capitol.

 US: Capitol ST2080 Second 1964.

 Germany: Odeon 1C062-04363 Beatles Beat 1964. [a2] mono from [a] 
1964, by Capitol.

 US: Capitol T2080 Second 1964.
The harmonica is an overdub so it must be a 2d generation tape (at 
least).
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b2] mono from [b] 1964, by 
Capitol.

 US: Capitol T2080 Second.
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 30 Oct 1963. edited.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b2] mono from [b] 1964, by 
Capitol.

 US: Capitol T2080 Second 1964.
This recording is not well described by Lewisohn, but see 
"Chronicles" for the July 18 session sheet and "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 on [a] and the 
more prominent piano sound throughout on [b].
Lewisohn reports that [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 on [a], and that the 
louder piano all the way through is the Sept 30 work used only on 
[b], makes sense but does not explain all.
How is the guitar louder on [a]?
Both takes 6 and 7 are marked "track 2", i.e. second generation.
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.
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.
No other twin-track recording has anything mixed equally into both 
channels, except the harmonica overdubs in From Me to You and Thank 
You Girl.
Lewisohn says it is two separate mono mixes, meaning apparently two 
tapes, but we doubt it.
First of all, how could two tapes possibly be synchronized?-- and 
Lewisohn reports engineers synchronizing two tape decks for the 
first time for A Day in the Life in 1967.
Secondly, how could the content of the right stereo channel-- 
vocal, handclap and piano-- possibly be mixed from the twintrack 
source?
We simply need more information.
I propose as a possibility that on Sept 30, take 7 was mixed with 
live piano sound into a new unnumbered take, the existing vocal-
handclap track being mixed into both channels, to create [b] as a 
live mix; if so, it was done specifically for stereo release, which 
would appear to be the only reason to dub piano on Sept 30 anyway, 
the mono mix having been done over a month earlier.
Capitol's ST2080 has heavyhanded "mixing" on all tracks and in this 
song, rebalanced like the rest of the album, the vocal ends up 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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b2] mono from [b] 1964, by 
Capitol.

 US: Capitol T2080 Second 1964.
-----
PLEASE MR POSTMAN basic recording- 18 Jul 1963 additional 
recording- 18 Jul 1963 master tape- twintrack 2d generation
[a] mono 21 Aug 1963. edited.

 UK: Parlophone PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b2] mono from [b] 1964, by 
Capitol.

 US: Capitol T2080 Second 1964.
-----
TILL THERE WAS YOU basic recording- 30 Jul 1963 additional 
recording- none master tape- twintrack
[a] mono 21 Aug 1963.

 UK: Parlophone PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963. edited.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b2] mono from [b] 1964, by 
Capitol.

 US: Capitol T2080 Second 1964. [b3] stereo remixed from [b] 1976.

 US: Capitol SKBO11537 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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963. edited.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 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.
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963, Apple PCSP717 The 
Beatles
1962-1966 1973. [b1] stereo, untrimmed.

 Germany: Odeon [number?] With the Beatles 1963.

 Germany and Holland: Odeon 1C072-04207 Beatles Greatest 1965.

 US: Capitol SHAL12060 Rarities 1980. [b2] stereo remixed from [b] 
1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964, Apple SKBO3403 The 
Beatles
1962-1966 1973. [b3] mono from [b] 1963, by Capitol.

 US: Capitol T2047 Meet the Beatles 1964. [b4] mono from [b1] 1963, 
by Odeon (Germany).

 Germany: Odeon [number?] single 1963, and probably mono issues of 
same
albums as above. [c] stereo 1993

 CD: The Beatles 1962-1966 1993.
[b1] opens with 5 taps on a hi-hat, edited off the others.
As heard on Capitol Rarities, it sounds as if possibly the tap has 
been edited on?
We have not heard the authentic German source.
[c] has the vocal track centered, leaving nothing far right.
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963. edited.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 Meet the Beatles 1964.
Two takes, both 2d generation, are edited together in an 
unspecified way, and if [a] and [b] were not done the same way, it 
explains why the doubletrack vocal differs slightly.
For example, on [b], "you you you" is doubletracked at the end, but 
not on [a].
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 Meet the Beatles 1964.
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963. edited.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b1] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 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, probably another edit piece, is only on 
[b] according to Lewisohn's reporting, but what is it?
-----
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 PMC1206 With the Beatles 1963.

 CD: With the Beatles 1987. [b] stereo 29 Oct 1963.

 UK: Parlophone PCS3045 With the Beatles 1963. [b1] stereo remixed 
from [b] 1963, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [b2] mono from [b] 1963, 
by Capitol.

 US: Capitol T2047 Meet the Beatles 1964. [b3] stereo remixed from 
[b] 1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.
Again, a lot of tape generations.
The last twintrack recording started.
-----
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, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Capitol 5112 1964, Capitol T2047 Meet the Beatles 1964. [a1] 
mock from [a] 1964, by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [a2] mock from [a] 1973, 
by Capitol.

 US: Apple SKBO3403 The Beatles 1962-1966 1973. [b] stereo 21 Oct 
1963.

 Germany: Odeon 1C062-04363 Beatles Beat 1964, Odeon 1C072-04207
 Beatles Greatest 1965. [c] stereo 8 Jun 1965.

 Holland: Odeon 1A072-04207 Beatles Greatest 1965, Odeon 1A062-
04632 Beatles in Italy 1965.

 Australia: Parlophone PCSO7533 Greatest Hits 1 1965. [d] stereo 7 
Nov 1966.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717
The Beatles 1962-1966 1973.

 CD: Past Masters 1 1988, The Beatles 1962-1966 1993. [e] stereo 
(unknown date).

 Australia: Parlophone A8103 single reissue 1976.
There are four stereo mixes.
The first one [b] has bass and drums up, like mono [a], with a nice 
bass sound lacking in the later mixes, and the handclap track is 
mixed louder than the later stereo mixes.
[c] and [d] sound alike, but the foreign releases [c] must be the 8 
Jun 1965 mix, while Lewisohn states that the 7 Nov 1966 mix was 
done for the Oldies album [d], so they are different.
[e] surprisingly has the vocal placed way over right, and nothing 
in the center, like a twintrack mix, and like the only known stereo 
mix of This Boy (see below).
An alternate theory is that [d] and [c] are the June 1965 mix, and 
[e] is the mix done in November 1966, which was not used in 1966 
for some reason.
Part of the logic is that mix [e] and the mix of This Boy both use 
left-right mixes and therefore seem to have been made at the same 
time-- guesswork.
-----
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, Parlophone PSLP261/PCM1001 Rarities 1978-79.

 US: Capitol T2047 Meet the Beatles 1964. [a1] mock from [a] 1964, 
by Capitol.

 US: Capitol ST2047 Meet the Beatles 1964. [a2] mock from [a] 1977.

 UK: Parlophone PCSP721 Love Songs 1977. [b] stereo 10 Nov 1966. 
edited.

 Canada: Capitol 72144 reissue 1976 [B side of All My Loving].

 Australia: Parlophone A8103 reissue 1976. [b1] stereo copy of [b] 
1988.

 CD: Past Masters 1 1988.
The edit removed an instrumental break after the bridge, leaving an 
abrupt transition to the last verse.
The stereo mix [b] seems to have been lost in Canada or Australia 
in 1976, and was unavailable in 1977 for the Love Songs album, 
which instead uses a new mock stereo mix.
The CD [b1] is said to be made from a vinyl copy.
The stereo mix [b] is mixed like the stereo mix of I Want to Hold 
Your Hand [e] with vocals to one side, which also first appeared on 
the same reissue single in Australia.
EMI Australia staff say the two mixes came on the same master tape 
lent by EMI.
They may be from the same date, 1966 or much later.
-----
KOMM GIB MIR DEINE HAND basic recording- 17 Oct 1963 additional 
recording- 29 Jan 1964 at EMI Pathe Marconi, Paris master tape- 
twin-track 3d generation (?)
[a] mono 10 Mar 1964. edited.

 Germany: Odeon 22671 1964.

 US: Capitol T2018 Something New 1964.

 CD: Past Masters 1 1988. [b] stereo 12 Mar 1964. edited.

 US: Capitol ST2018 Something New 1964.

 UK: Parlophone PSLP261/PCM1001 Rarities 1978-79.
Talk ("come in"?) at the start of [b] is partly cut off on 
Parlophone's Rarities but it's still there.
The edit is unspecified but it is of two takes of the German vocal 
and handclap track.
The instrumental track is a copy of I Want to Hold Your Hand from 
Oct 17.
-----
SIE LIEBT DICH basic recording- 29 Jan 1964 at EMI Pathe Marconi, 
Paris additional recording- 29 Jan 1964 at EMI Pathe Marconi, Paris 
master tape- twintrack 2d generation (?)
[a] mono 10 Mar 1964.

 Germany: Odeon 22671 1964.

 US: Swan 4182 1964.

 CD: Past Masters 1 1988. [b] stereo 12 Mar 1964.

 UK: Parlophone PSLP261/PCM1001 Rarities 1978-79.

 US: Capitol SHAL12060 Rarities 1980.
The master tapes of She Loves You being missing already, this is an 
all new recording (unlike Komm Gib Mir Deine Hand), but they may 
have been listening to playback of the record She Loves You as it 
is exactly in time with it.
-----
CAN'T BUY ME LOVE basic recording- 29 Jan 1964 at EMI Pathe 
Marconi, Paris additional recording- 29 Jan at EMI Pathe Marconi, 
Paris; 25 Feb, 10 Mar 1964 master tape- 4 track 2d generation
[a] mono 26 Feb, 10 Mar 1964.

 UK: Parlophone R5114 1964, Parlophone PMC1230 Hard Day's Night 
1964, Parlophone PMC7016 Collection of Oldies 1966.

 US: Capitol 5150 1964, United Artists UAL6366 Hard Day's Night 
1964.

 CD: Hard Day's Night 1987. [a1] mono from [a] 1964, by United 
Artists.

 US: United Artists UAS6366 Hard Day's Night 1964. [b] stereo 10 
Mar 1964.

 Germany: Odeon 1C062-04363 Beatles Beat 1964. [c] stereo 22 Jun 
1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964, Parlophone PCS7016

 Collection of Oldies 1966, Apple PCSP717 The Beatles 1962-1966 
1973.

 US: Apple SW385 Hey Jude 1970, Apple SKBO3403 The Beatles 1962-
1966 1973. [d] stereo 1993.

 CD: The Beatles 1962-1966 1993.
[a] has a drum overdub (by someone unknown) done March 10, probably 
right onto the mono mix made 26 Feb rather than onto the 4-track 
master, since it was not used on any stereo version; the new 
drumming cuts out for the instrumental break and comes back 
abruptly after it.
[b] has the guitar track quieter (check the intro for example) than 
the common mix [c].
[d] is similar to [c].
The processing by United Artists for [a1] "stereo" is curious: the 
song is entirely mono, except that it bounces from left to right 
channels at the vocal lines "[bounce] too much for money [bounce] 
cause money can't buy me love"; it does this 3 times so it's not a 
glitch in the tape.
-----
YOU CAN'T DO THAT basic recording- 25 Feb 1964 additional 
recording- 25 feb 1964 master tape- 4 track
[a] mono 26 Feb 1964.

 US: Capitol 5150 1964, Capitol T2080 Second 1964. [a1] mock from 
[a] 1964, by Capitol.

 US: Capitol ST2080 Second 1964. [b] mono 26 Feb 1964.

 UK: Parlophone R5114 1964, Parlophone PMC1230 Hard Day's Night 
1964.

 CD: Hard Day's Night 1987. [c] stereo 10 Mar 1964.

 Canada: Capitol ST6063 Long Tall Sally (LP) 1964. [d] stereo 22 
Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.
[a] and [b] seem identical but Lewisohn reports separate mixes for 
the US and UK.
[c] seems to have no bass on right, unlike common stereo mix [d].
-----
I SHOULD HAVE KNOWN BETTER basic recording- 26 feb 1964 additional 
recording- 26 Feb 1964 master tape- 4 track
[a] mono 3 Mar 1964.
edited.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 US: Capitol 5222 1964, United Artists UAL6366 and UAS6366 Hard 
Day's
Night 1964.

 CD: Hard Day's Night 1987. [b] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Apple SW385 Hey Jude 1970. [b1] stereo from [b] 1982.
edited.

 UK: Parlophone PCS7218 Reel Music 1982.

 US: Capitol SV12199 Reel Music 1982.
[a] fades out a little faster than [b].
The harmonica during the intro cuts out suddenly at one point in 
[b], but is fixed, probably by an edit, in [a]. [b1] was probably 
also created by edit although some say it is a new mix.
In the home video A Hard Day's Night, [b1] is used in the train 
scene but [b] with the harmonica mistake is used in the television 
show scene later.
-----
AND I LOVE HER basic recording- 27 Feb 1964 additional recording- 
27 feb 1964 master tape- 4 track
[a] mono 3 Mar 1964.

 US: United Artists UAL6366 and UAS6366 Hard Day's Night 1964, 
Capitol 5235
1964, Capitol T2018 Something New 1964. [b] mono 22 Jun 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 CD: Hard Day's Night 1987. [c] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964, Apple PCSP717 The 
Beatles
1962-1966 1973.

 US: Capitol ST2018 Something New 1964, Apple SKBO3403 The Beatles
1962-1966 1973. [c1] stereo, untrimmed(?).

 Germany: Odeon [number?] Something New 1964.

 US: Capitol SHAL12060 Rarities 1980. [d] stereo 1993.

 CD: The Beatles 1962-1966 1993.
[a] has a single track vocal most of the way, while the others have 
double track most of the way.
Lewisohn does not report recording after Feb 27, and if so it is a 
mix difference.
"Bright are the stars that shine, dark is the sky" is always single 
tracked.
Interestingly, the start of Paul's humming after the last lyrics, 
as heard in other versions, is just barely audible in [a], as if 
mixed out but leaking from another track.
[c1] has six guitar riffs at the end instead of only four.
Is it an "untrimmed" or unedited copy of [c], or are repeats edited 
-in- for some reason?
[c1] also seems to have the guitar softer on left, but it may be a 
balancing error, not a different mix, since the centered vocal is 
also pulled a little to right, as it would be if the balance were 
off.
-----
TELL ME WHY basic recording- 27 Feb 1964 additional recording- 27 
Feb 1964 master tape- 4 track
[a] mono 3 Mar 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 US: United Artists UAL6366 Hard Day's Night 1964, Capitol T2018
Something New 1964.

 CD: Hard Day's Night 1987. [a1] mono from [a] 1964, by United 
Artists.

 US: United Artists UAS6366 Hard Day's Night 1964 [b] stereo 22 Jun 
1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2018 Something New 1964.

 Film: Hard Day's Night reissue 1982, home video "a".
[b] has a noise at the very end edited off the others.
[a1] on UAS6366 is mono except that it shifts to right channel at 
the "response" vocals in the verses ("you left me sittin' on my 
own" etc).
Reportedly the original filmprint of A Hard Day's Night has a 
different mono mix undocumented by Lewisohn, probably March 3, with 
the doubletrack vocal mixed differently, noticeably on "well I'm 
beggin' on my bended knees, if you'll only listen to my pleas".
-----
IF I FELL basic recording- 27 Feb 1964 additional recording- 27 Feb 
1964 master tape- 4 track
[a] mono 3 mar 1964. edited.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 US: United Artists UAL6366 and UAS6366 Hard Day's Night 1964, 
Capitol
5235 1964, Capitol T2018 Something New 1964.

 CD: Hard Day's Night 1987. [b] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2018 Something New 1964.
[b] has a double track John on the intro, unlike [a], with a slight 
lag in one track at the first word "if" and at "and" in "and I've 
found".
On [b] Paul misses the high note the second time on the word "vain" 
("our new love was in vain"), corrected in [a] by editing in the 
same word from the first time round (the edit is not documented but 
based on listening).
-----
I'M HAPPY JUST TO DANCE WITH YOU basic recording- 1 Mar 1964 
additional recording- none master tape- 4 track
[a] mono 3 Mar 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 US: United Artists UAL6366 and UAS6366 Hard Day's Night 1964, 
Capitol
5234 1964, Capitol T2018 Something New 1964.

 CD: Hard Day's Night 1987. [b] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2018 Something New 1964.
-----
LONG TALL SALLY basic recording- 1 Mar 1964 additional recording- 
none master tape- 4 track
[a] stereo 10 Mar 1964.

 US: Capitol ST2080 Second 1964.

 Canada: Capitol ST6063 Long Tall Sally (LP) 1964. [a1] mono from 
[a] 1964, by Capitol (Canada).

 Canada: Capitol T6063 Long Tall Sally (LP) 1964. [b] mono 10 Mar 
1964.

 US: Capitol T2080 Second 1964. [c] mono 4 Jun 1964.

 UK: Parlophone GEP8920 Long Tall Sally (EP) 1964, Parlophone 
PSLP261/
PCM1001 Rarities 1978-79.

 Holland: Odeon 1A062-04632 Beatles in Italy 1965. [d] stereo 22 
Jun 1964.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 UK: Parlophone PCSP719 Rock and Roll Music 1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.

 CD: Past Masters 1 1988.
Of the mono mixes, [c] has echo added, while [b] does not.
In stereo, [a] has the vocal over to the right side while in [d] it 
is centered.
-----
I CALL YOUR NAME basic recording- 2 Mar 1964 additional recording- 
2 Mar 1964 master tape- 4 track
[a] mono 4 Mar 1964. edited.

 US: Capitol T2080 Second 1964.

 Canada: Capitol T6063 Long Tall Sally (LP) 1964. [b] stereo 10 Mar 
1964. edited.

 US: Capitol ST2080 Second 1964.

 Canada: Capitol ST6063 Long Tall Sally (LP) 1964. [c] mono 4 Jun 
1964. edited.

 UK: Parlophone GEP8920 Long Tall Sally (EP) 1964, Parlophone 
PSLP261/
PCM1001 Rarities 1978-79.

 Holland: Odeon 1A062-04632 Beatles in Italy 1965. [d] stereo 22 
Jun 1964. edited.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 UK: Parlophone PCSP719 Rock and Roll Music 1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.

 CD: Past Masters 1 1988.
All versions have edits, but different edits.
The take (7) used for the main part of the song has a cowbell track 
that distinguishes it from other takes. The cowbell track is itself 
mixed more or less loudly.
Take 7 also has a double track vocal.
Both stereo mixes [b] [d] have a different, better guitar intro 
edited in, but done differently, so there are three versions of the 
intro.
In the original intro as heard in [a] [c], the cowbell starts right 
away.
[b] with the better guitar intro has no cowbell until the edit, 
which comes just before the vocal starts.
On [d], the edit comes after the first line ("I call your name, but 
you're not there"), so it has neither cowbell nor the second vocal 
track until that point.
A second, obvious stereo difference is that [b] has the vocal over 
on the right while [d] has the vocal and cowbell centered.
All mixes have an edit for the guitar solo, but the edit into the 
solo comes at two different places.
In [a][d] it comes after the vocal, evidenced by the cowbell 
through the words "I call your name", but in [b][c] it comes just 
before that last line of vocal.
The edit at the end is at the same place but there are slight 
variations in how well it was done.
There was a March 3 mono mix for the film, but the song was not 
used in the film and United Artists did not use it on their LP 
either.
-----
A HARD DAY'S NIGHT basic recording- 16 Apr 1964 additional 
recording- 16 Apr 1964 master tape- 4 track
[a] mono 23 Apr 1964.

 UK: Parlophone R5160 1964, Parlophone PMC1230 Hard Day's Night 
1964,
Parlophone PMC7016 Collection of Oldies 1966.

 US: Capitol 5222 1964, United Artists UAL6366 and UAS6366 Hard 
Day's
Night 1964, Apple SKBO3403 The Beatles 1962-1966 1973.

 CD: Hard Day's Night 1987. [b] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964, Parlophone PCS7016
Collection of Oldies 1966, Apple PCSP717 The Beatles 1962-1966 
1973. [c] stereo 1993.

 CD: The Beatles 1962-1966 1993.
The original film print of A Hard Day's Night used a different mono 
mix from June 9 that has an extended ending made by editing: "you 
know I feel all right" is heard 5 times instead of 3.
The home video release, using the common stereo mix [b], therefore 
finds the song ending slightly before the credits do.
The centering of the vocal is better in [c] than [b], where it is 
pulled a bit to the right.
-----
MATCHBOX basic recording- 1 Jun 1964 additional recording- 1 Jun 
1964 master tape- 4 track
[a] mono 4 Jun 1964. edited.

 UK: Parlophone GEP8920 Long Tall Sally (EP) 1964, Parlophone 
PSLP261/
PCM1001 Rarities 1978-79.

 US: Capitol 5255 1964, Capitol T2018 Something New 1964.

 Holland: Odeon 1A062-04632 Beatles in Italy 1965. [b] stereo 22 
Jun 1964. edited.

 US: Capitol ST2018 Something New 1964, Capitol SKBO11537 Rock and 
Roll
Music 1976.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 UK: Parlophone PCSP719 Rock and Roll Music 1976.

 CD: Past Masters 1 1988.
This has generous reverb on the vocal, and [b] has more than [a].
At least one of the two mixes is edited, because the guitar solo 
ends differently.
-----
I'LL CRY INSTEAD basic recording- 1 Jun 1964 additional recording- 
1 Jun 1964 master tape- 4 track
[a] mono 4 Jun 1964. edited.

 US: United Artists UAL6366 and UAS6366 Hard Day's Night 1964, 
Capitol
5234 1964, Capitol T2018 Something New 1964. [b] mono 4 Jun 1964. 
edited.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 CD: Hard Day's Night 1987. [c] stereo 22 Jun 1964. edited.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2018 Something New 1964.
Lewisohn reports the song was recorded in two "sections" that were 
edited together, but not what the sections are.
Additionally, only one mono mix is documented, but we have two, 
which I tentatively date the same day.
[a] is the "long version" that has an additional verse, verse 4, 
obviously edited in, which repeats the lyrics but not the same 
recording of verse 1.
A stereo mix made by editing [c] was used in a montage of still 
photos that opened the 1982 theatrical reissue of the film A Hard 
Day's Night, as well as the subsequent home video release.
It is a forgery of a nonexistent "complete" version, as if [a] were 
not extended by an edit, and is not like [a] because it edits in 
the same recording of verse 1.
(This is also on the bootleg LP "Casualties", 1982.)
-----
SLOW DOWN basic recording- 1 Jun 1964 additional recording- 1,4 Jun 
1964 master tape- 4 track
[a] mono 4 Jun 1964.

 UK: Parlophone GEP8920 Long Tall Sally (EP) 1964, Parlophone 
PSLP261/
PCM1001 Rarities 1978-79.

 US: Capitol 5255 1964, Capitol T2018 Something New 1964.

 Holland: Odeon 1A062-04632 Beatles in Italy 1965. [b] stereo 22 
Jun 1964.

 US: Capitol ST2018 Something New 1964, Capitol SKBO11537 Rock and 
Roll
Music 1976.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 UK: Parlophone PCSP719 Rock and Roll Music 1976.

 CD: Past Masters 1 1988.
[b] has the vocal and piano much louder (or one might say the rest 
is softer), and a cry "ow" is heard only in [b] just before the 
guitar at the end.
The vocal has a doubletrack error at "now you got a boy/girl friend 
down the street" that seems less prominent, but is still there, in 
[a], marking it as the same vocal and not different as reported 
elsewhere.
-----
I'LL BE BACK basic recording- 1 Jun 1964 additional recording- 1 
Jun 1964 master tape- 4 track
[a] mono 22 Jun 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 CD: Hard Day's Night 1987. [b] mono 22 Jun 1964.

 US: Capitol T2228 Beatles '65 1964. [c] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2228 Beatles '65 1964.
[b] runs slower than [a] and has a little echo; [a] has none.
-----
THINGS WE SAID TODAY basic recording- 2 Jun 1964 additional 
recording- 2,3 Jun 1964 master tape- 4 track
[a] mono 4 Jun 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 US: Capitol 5222 1964, Capitol T2018 Something New 1964.

 CD: Hard Day's Night 1987. [b] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2108 Something New 1964.
-----
WHEN I GET HOME basic recording- 4 Jun 1964 additional recording- 4 
Jun 1964 master tape- 4 track
[a] mono 22 Jun 1964.

 US: Capitol T2018 Something New 1964. [b] mono 22 Jun 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 CD: Hard Day's Night 1987. [c] stereo 22 Jun 1964. edited.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2108 Something New 1964.
[a] has the piano mixed loud, [b] has it mixed soft; the two mixes 
were done one after the other.
[c] seems to have an edit on the line "love her more, till I walk 
out that door": [c] has a longer pause after "more" and then "till 
I" is faster to make it up, and [c] has double track vocal on "walk 
out that door" (it may be that [a] and [b] have the edit and [c] is 
original).
-----
ANY TIME AT ALL basic recording- 2 Jun 1964 additional recording- 
2,3 Jun 1964 master tape- 4 track
[a] mono 22 Jun 1964.

 US: Capitol T2018 Something New 1964. [b] mono 22 Jun 1964.

 UK: Parlophone PMC1230 Hard Day's Night 1964.

 CD: Hard Day's Night 1987. [c] stereo 22 Jun 1964.

 UK: Parlophone PCS3058 Hard Day's Night 1964.

 US: Capitol ST2108 Something New 1964.
[a] is missing the piano heard in the others; these mixes were all 
done on the same day.
The separation in [c] reveals how the sound compression done on the 
track makes the instrumental part fade up and down.
-----
BABY'S IN BLACK basic recording- 11 Aug 1964 additional recording- 
none master tape- 4 track
[a] mono 26 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
-----
I'M A LOSER basic recording- 14 Aug 1964 additional recording- none 
master tape- 4 track
[a] mono 26 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
[b] has the lead guitar mixed louder.
-----
[ HOLLYWOOD BOWL CONCERT 1 ] basic recording- 23 Aug 1964 at 
Hollywood Bowl, Los Angeles additional recording- none master tape- 
3 track
[a] stereo Jan 1977 at AIR, London. edited.

 UK: Parlophone EMTV4 At the Hollywood Bowl 1977.

 US: Capitol SMAS11638 At the Hollywood Bowl 1977.
Segments used contain: All My Loving, She Loves You, Things We Said 
Today, Roll Over Beethoven, Boys, Long Tall Sally.
-----
I DON'T WANT TO SPOIL THE PARTY basic recording- 29 Sep 1964 
additional recording- none master tape- 4 track
[a] mono 26 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol 5371 1965, Capitol T2358 VI 1965.

 CD: For Sale 1987. [b] stereo 4 Nov 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2358 Beatles VI 1965.
[b] has a cry "woo" before the instrumental break, not in [a], and 
the guitar is mixed louder.
-----
EVERY LITTLE THING basic recording- 30 Sep 1964 additional 
recording- none master tape- 4 track
[a] mono 27 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2358 Beatles VI 1965.

 CD: For Sale 1987. [b] stereo 27 Oct 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2358 Beatles VI 1965.
-----
NO REPLY basic recording- 30 Sep 1964 additional recording- none 
master tape- 4 track
[a] mono 16 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
A minor double track difference shows that decisions were made at 
mix stage: in "in my place" the first time, [a] has doubletrack on 
"place" while [b] has it on "my place".
[b] also reveals a cough after "your window" near the beginning.
-----
EIGHT DAYS A WEEK basic recording- 6 Oct 1964 additional recording- 
6,18 Oct 1964 master tape- 4 track
[a] mono 27 Oct 1964. edited.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol 5371 1965, Capitol T2358 Beatles VI 1965.

 CD: For Sale 1987. [b] stereo 27 Oct 1964. edited.

 UK: Parlophone PCS3062 For Sale 1964, Apple PCSP717 The Beatles 
1962-1966
1973.

 US: Capitol ST2358 Beatles VI 1965, Apple SKBO3403 The Beatles 
1962-1966
1973. [c] stereo 1993. edited.

 CD: The Beatles 1962-1966 1993.
The intro and ending were edited in.
[c] sounds identical to [b] but is reportedly a new mix.
-----
SHE'S A WOMAN basic recording- 8 Oct 1964 additional recording- 8 
Oct 1964 master tape- 4 track
[a] mono 12 Oct 1964.

 UK: Parlophone R5200 1965, Parlophone PSLP261/PCM1001 Rarities 
1978-79. [b] stereo 12 Oct 1964.

 Australia: Parlophone PCSO7534 Greatest Hits 2 1965.

 CD: Past Masters 1 1988. [b1] stereo, untrimmed.

 UK: Parlophone SGE1 (EP) 1981. [c] mono 21 Oct 1964.

 US: Capitol 5327 1964, Capitol T2228 Beatles '65 1964. [c1] mock 
from [c] 1964, by Capitol.

 US: Capitol ST2228 Beatles '65 1964.
[a] has no echo on the vocal and has a slightly longer fade ("she's 
a woman" 5 times against 3 on the others).
[c] seems to have less piano than [a] but the added echo, which may 
have been done by Capitol, may just be drowning it. The mock stereo 
conversion from it [c1] is muddy.
[b], also without the echo, seems to have gone missing in Australia 
as it was not used for the Parlophone Rarities LP, but it was found 
for the CD release. [b1] is the same with a countdown at the start.
-----
KANSAS CITY/HEY HEY HEY HEY basic recording- 18 Oct 1964 additional 
recording- none master tape- 4 track
[a] mono 26 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2358 Beatles VI 1965.

 CD: For Sale 1987. [b] stereo 26 Oct 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2358 Beatles VI 1965.
[a] fades a little earlier.
-----
MR MOONLIGHT basic recording- 18 Oct 1964 additional recording- 18 
Oct 1964 master tape- 4 track
[a] mono 27 Oct 1964.

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 27 Oct 1964.

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
[a] fades a little earlier.
-----
I FEEL FINE basic recording- 18 Oct 1964 additional recording- none 
master tape- 4 track
[a] mono 21 Oct 1964.

 UK: Parlophone R5200 1965, Parlophone PMC7016 Collection of Oldies 
1966. [b] mono 21 Oct 1964.

 US: Capitol 5327 1964, Capitol T2228 Beatles '65 1964, Apple 
SKBO3403
The Beatles 1962-1966 1973. [b1] mock from [b] 1964, by Capitol.

 US: Capitol ST2228 Beatles '65 1964.

 Germany: Odeon 1C072-04207 Beatles Greatest 1965. [c] stereo 4 Nov 
1964

 Holland: Odeon 1A072-04207 Beatles Greatest 1965, Odeon 1A062-
04632
Beatles in Italy 1965.

 Italy: Parlophone PMCQ315006 Beatles in Italy 1965.

 UK: Apple PCSP717 The Beatles 1962-1966 1973. [c1] stereo, 
trimmed.

 Australia: Parlophone PCSO7534 Greatest Hits 2 1965.

 UK: Parlophone PCS7016 Collection of Oldies 1966.

 CD: Past Masters 1 1988, The Beatles 1962-1966 1993.
The US mono mix [b] has an enormous reverb effect that may have 
been enhanced by Capitol.
The mock stereo made from it [b1] really stands out as the most 
distorted Beatles cut Capitol ever created.
[c] starts with a second or so of whispering and tapping before the 
usual opening.
[c1] is a "trimmed" version without the whispering; the trimming 
may be local to each release.
The open-microphone sounds at the opening (whispers, snaredrum 
resonating (?)) are clearer on CD.
-----
I'LL FOLLOW THE SUN basic recording- 18 Oct 1964 additional 
recording- none master tape- 4 track
[a] mono 21 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
-----
EVERYBODY'S TRYING TO BE MY BABY basic recording- 18 Oct 1964 
additional recording- none master tape- 4 track
[a] mono 21 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
-----
ROCK AND ROLL MUSIC basic recording- 18 Oct 1964 additional 
recording- none master tape- 4 track
[a] mono 26 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
-----
WORDS OF LOVE basic recording- 18 Oct 1964 additional recording- 18 
Oct 1964 master tape- 4 track
[a] mono 26 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2358 Beatles VI 1965.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2358 Beatles VI 1965.
[a] is 9 seconds longer, longer fade.
-----
HONEY DON'T basic recording- 18 Oct 1964 additional recording- none
master tape- 4 track
[a] mono 21 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2228 Beatles '65 1964.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2228 Beatles '65 1964.
-----
WHAT YOU'RE DOING basic recording- 26 Oct 1964 additional 
recording- none master tape- 4 track
[a] mono 21 Oct 1964

 UK: Parlophone PMC1240 For Sale 1964.

 US: Capitol T2358 Beatles VI 1965.

 CD: For Sale 1987. [b] stereo 4 Nov 1964

 UK: Parlophone PCS3062 For Sale 1964.

 US: Capitol ST2358 Beatles VI 1965.
[b] has a handclap in the intro missing in [a], and the drum and 
rhythm track is mixed softer.
-----
TICKET TO RIDE basic recording- 15 Feb 1965 additional recording- 
15 Feb 1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone R5265 1965, Parlophone PMC1255 Help! 1965, 
Parlophone
PMC7016 Collection of Oldies 1966.

 US: Capitol 5407 1965, Capitol MAS2386 Help! 1965, Apple SKBO3403
The Beatles 1962-1966 1973. [a1] mock from [a] 1965, by Capitol.

 US: Capitol SMAS2386 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965, Parlophone PCS7016 Collection 
of
Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol SV12199 Reel Music 1982. [c] stereo 1987.

 CD: Help! 1987, The Beatles 1962-1966 1993.
[a] is somewhat reverbed and less sharp on Capitol's releases.
Another mono mix was made for the original film soundtrack of Help! 
on 15 March 1965.
The stereo versions fade a little longer than [a].
On [b] the whole track has been given a bass boost to make up for 
poor bass guitar sound, fixed on [c] where the bass guitar has 
presence and the rest including the vocal sounds sharper.
-----
ANOTHER GIRL basic recording- 15 Feb 1965 additional recording- 
15,16 Feb 1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol SMAS2386 Help! 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
I NEED YOU basic recording- 15 Feb 1965 additional recording- 15,16 
Feb 1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol SMAS2386 Help! 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
YES IT IS basic recording- 16 feb 1965 additional recording- 16 Feb 
1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone R5265 1965, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Capitol 5407 1965, Capitol T2358 Beatles VI 1965. [a1] mock 
from [a] 1965, by Capitol.

 US: Capitol ST2358 Beatles VI 1965. [a2] mock from [a] 1977.

 UK: Parlophone PCSP Love Songs 1977.

 US: Capitol SKBL11711 Love Songs 1977. [b] stereo 23 Feb 1965.

 UK: Heineken Beer promo cassette Only The Beatles 1986.

 CD: Past Masters 1 1988.
The stereo mix [b] must have been well hidden away, not used in 
1977 or 1979 for collections.
It first appeared on a promotional offer tape from Heineken Beer in 
1986, available by mail order for a few weeks.
It has a dropout (a tape defect) in verse 1 on the word "I" in 
"remember what I said tonight", and an extra tone-pedal note under 
the first word "if".
-----
THE NIGHT BEFORE basic recording- 17 Feb 1965 additional recording- 
17 Feb 1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol SMAS2386 Help! 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
YOU LIKE ME TOO MUCH basic recording- 17 Feb 1965 additional 
recording- 17 Feb 1965 master tape- 4 track
[a] mono 18 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol T2358 Beatles VI 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2358 Beatles VI 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
YOU'VE GOT TO HIDE YOUR LOVE AWAY basic recording- 18 Feb 1965 
additional recording- none master tape- 4 track
[a] mono 20 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965, Apple PCSP717 The Beatles 1962-
1966
1973.

 US: Capitol SMAS2386 Help! 1965, Apple SKBO3403 The Beatles 1962-
1966
1973. [b1] mono from [b] 1965, by Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987, The Beatles 1962-1966 1993.
-----
TELL ME WHAT YOU SEE basic recording- 18 Feb 1965 additional 
recording- 18 Feb 1965 master tape- 4 track
[a] mono 20 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol T2358 Beatles VI 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2358 Beatles VI 1965. [c] stereo 1987.

 CD: Help! 1987.
This is practically a 2-track recording from the sound of it-- the 
right stereo channel has only a piano overdub in a few places.
-----
YOU'RE GOING TO LOSE THAT GIRL basic recording- 19 Feb 1965 
additional recording- 19 Feb 1965 master tape- 4 track
[a] mono 20 Feb 1965.

 UK: Parlophone PMC1255 Help! 1965. [b] stereo 23 Feb 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol SMAS2386 Help! 1965. [b1] mono from [b] 1965, by 
Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
HELP! basic recording- 13 Apr 1965 additional recording- 13 Apr 
1965 master tape- 4 track
[a] mono 18 Jun 1965.

 UK: Parlophone R5305 1965, Parlophone PMC1255 Help! 1965, 
Parlophone
PMC7016 Collection of Oldies 1966.

 US: Capitol 5476 1965, Capitol SHAL12060 Rarities 1980. [b] stereo 
18 Jun 1965.

 UK: Parlophone PCS3071 Help! 1965, Parlophone PCS7016 Collection 
of
Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol SMAS2386 Help! 1965, Apple SKBO3403 The Beatles 1962-
1966
1973. [b1] mono from [b] 1965, by Capitol.

 US: Capitol MAS2386 Help! 1965. [c] stereo 1987.

 CD: Help! 1987, The Beatles 1962-1966 1993.
This recording has two vocal tracks, one of which evidently has a 
tambourine on it.
The tambourine vocal is on the stereo versions [b][c], while the 
alternate vocal is on [a] the hit single.
Some examples of vocal differences in verse 1: [b][c] has "but now 
these days", [a] has "and now these days", and on "I've changed my 
mind" [b][c] has the words evenly while [a] has them run together.
John's voice is rougher in [a] throughout.
Lewisohn does not explain the two vocals and in fact maintains they 
are different mixes, so I'm supposing the two vocals are on the 
same tape.
[c] has slightly better presence on the bass guitar and the rest is 
less bassy (similar to Ticket to Ride's new mix but less 
different).
The pop on "p" sounds, as in "appreciate" in chorus 1, is less 
noticeable in [c].
The original film print of Help! has a mono mix made April 18 using 
the tambourine vocal.
Some say this is on Capitol MAS2386 but since the rest of the album 
is combined from stereo this probably is too, as listed above.
On the Capitol albums MAS2386 and SMAS2386, and on (US) Apple 
SKBO3403, the song is preceded by a non-Beatles instrumental of the 
James Bond Theme, banded as if part of the song, but separated by a 
pause.
-----
DIZZY MISS LIZZIE basic recording- 10 May 1965 additional 
recording- none master tape- 4 track
[a] mono 10 May 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol T2358 Beatles VI 1965. [b] stereo
10 May 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2358 Beatles VI 1965. [c] stereo 1987.

 CD: Help! 1987.
[a] fades a little earlier.
[c] has echo added.
-----
BAD BOY basic recording- 10 May 1965 additional recording- none 
master tape- 4 track
[a] mono 10 May 1965.

 US: Capitol T2358 Beatles VI 1965.

 UK: Parlophone PMC7016 Collection of Oldies 1966. [b] stereo
10 May 1965.

 US: Capitol ST2358 Beatles VI 1965.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Parlophone 
PSLP261/
PCM1001 Rarities 1978-79.

 CD: Past Masters 1 1988.
[a] has bass and drums mixed louder.
-----
I'VE JUST SEEN A FACE basic recording- 14 Jun 1965 additional 
recording- 14 Jun 1965 master tape- 4 track
[a] mono 18 Jun 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 18 Jun 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Help! 1987.
-----
I'M DOWN basic recording- 14 Jun 1965 additional recording- 14 Jun 
1965 master tape- 4 track
[a] mono 18 Jun 1965.

 UK: Parlophone R5305 1965, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Capitol 5476 1965. [b] stereo 18 Jun 1965.

 UK: Parlophone PCSP719 Rock and Roll Music 1976.

 US: Capitol SKBO11537 Rock and Roll Music 1976.

 CD: Past Masters 1 1988.
During the guitar break [b] a second, different lead guitar can 
just be heard as a leak or echo on the mostly silent right channel.
Some accounts refer to an "alternate" stereo mix from Japan with 
two lead guitars, but a tape (allegedly) of that shows it to be the 
usual version.
-----
YESTERDAY basic recording- 14 Jun 1965 additional recording- 14 Jun 
1965 master tape- 4 track
[a] mono 17 Jun 1965.

 UK: Parlophone PMC1255 Help! 1965, Parlophone PMC7016 Collection 
of
Oldies 1966.

 US: Capitol 5498 1965, Capitol T2553 Yesterday & Today 1966. [b] 
stereo 18 Jun 1965.

 UK: Parlophone PCS3071 Help! 1965, Parlophone PCS7016 Collection 
of
Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol ST2358 Yesterday & Today 1966, Apple SKBO3403 The 
Beatles
1962-1966 1973. [c] stereo 1987.

 CD: Help! 1987, The Beatles 1962-1966 1993.
What appears to be doubletracking on the louder vocal lines is 
leakage from studio speakers; George Martin said he fixed part of 
this on [c] but I can't hear a difference.
[b] reveals a plink (violin?) in the left channel at the very end 
of the song that has been faded out in [c].
-----
IT'S ONLY LOVE basic recording- 15 Jun 1965 additional recording- 
none master tape- 4 track
[a] mono 18 Jun 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 18 Jun 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Help! 1987.
Double track on the first "It's only love" line sounds different in 
[c]; it appears to be "fixed" by splicing from the second chorus.
-----
ACT NATURALLY basic recording- 17 Jun 1965 additional recording- 
none master tape- 4 track
[a] mono 18 Jun 1965.

 UK: Parlophone PMC1255 Help! 1965.

 US: Capitol 5498 1965, Capitol T2553 Yesterday & Today 1966. [b] 
stereo 18 Jun 1965.

 UK: Parlophone PCS3071 Help! 1965.

 US: Capitol ST2358 Yesterday & Today 1966. [c] stereo 1987.

 CD: Help! 1987.
-----
WAIT basic recording- 17 Jun 1965 additional recording- 11 Nov 1965 
master tape- 4 track
[a] mono 15 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Rubber Soul 1987.
-----
[ HOLLYWOOD BOWL CONCERT 2 ] basic recording- 29 Aug 1965 at 
Hollywood Bowl, Los Angeles additional recording- none master tape- 
3 track
[a] stereo Jan 1977 at AIR, London. edited.

 UK: Parlophone EMTV4 At the Hollywood Bowl 1977.

 US: Capitol SMAS11638 At the Hollywood Bowl 1977.
Segments used contain: Dizzy Miss Lizzie [from start of first 
guitar solo], Ticket to Ride, intro to A Hard Day's Night, Help! 
[except intro].
-----
[ HOLLYWOOD BOWL CONCERT 3 ] basic recording- 30 Aug 1965 at 
Hollywood Bowl, Los Angeles additional recording- none master tape- 
3 track
[a] stereo Jan 1977 at AIR, London. edited.

 UK: Parlophone EMTV4 At the Hollywood Bowl 1977.

 US: Capitol SMAS11638 At the Hollywood Bowl 1977.
Segments used contain: Twist and Shout, She's a Woman, Dizzy Miss 
Lizzie [up to start of first guitar solo], Can't Buy Me Love, A 
Hard Day's Night [except intro], intro to Help!.
-----
RUN FOR YOUR LIFE basic recording- 12 Oct 1965 additional 
recording- 12 Oct 1965 master tape- 4 track
[a] mono 9 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 10 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Rubber Soul 1987.
-----
DRIVE MY CAR basic recording- 13 Oct 1965 additional recording- 13 
Oct 1965 master tape- 4 track
[a] mono 25 Oct 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2553 Yesterday & Today 1966. [b] stereo 26 Oct 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965, Apple PCSP717 The Beatles
1962-1966 1973.

 US: Capitol ST2553 Yesterday & Today 1966, Apple SKBO3403 The 
Beatles
1962-1966 1973. [c] stereo 1987.

 CD: Rubber Soul 1987, The Beatles 1962-1966 1993.
The backing track goes quiet during the "beep beep yeah" parts on 
[a]. The lead vocal is far right on [b], slightly right center on 
[c].
(UK) Parlophone GEP8952 Nowhere Man (EP) 1965 is said to have a 
different mono mix, undocumented by Lewisohn, with the piano much 
softer.
-----
DAY TRIPPER basic recording- 16 Oct 1965 additional recording- 16 
Oct 1965 master tape- 4 track
[a] stereo 26 Oct 1965.

 Australia: Parlophone PCSO7534 Greatest Hits 2 1965.

 US: Capitol ST2553 Yesterday & Today 1966, Apple SKBO3403 The 
Beatles
1962-1966 1973. [b] mono 29 Oct 1965.

 UK: Parlophone R5389 1965, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Capitol 5555 1965, Capitol T2553 Yesterday & Today 1966. [c] 
stereo 10 Nov 1966.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717 
The Beatles 1962-1966 1973.

 CD: Past Masters 2 1988, The Beatles 1962-1966 1993.
The lead guitar intro in [a] starts left and jumps to the right 
when the other instruments come in; in [c] it starts in both 
channels instead, presumably by ADT (artificial double tracking), 
and the stereo image is reversed.
All mixes have two dropouts on the guitar track around 1:50-1:55, 
more noticeable in stereo, to cover bad notes (as heard in a 
bootleg of the whole take).
-----
IF I NEEDED SOMEONE basic recording- 16 Oct 1965 additional 
recording- 18 Oct 1965 master tape- 4 track
[a] mono 25 Oct 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2553 Yesterday & Today 1966. [b] stereo 26 Oct 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2553 Yesterday & Today 1966. [c] stereo 1987.

 CD: Rubber Soul 1987.
-----
IN MY LIFE basic recording- 18 Oct 1965 additional recording- 22 
Oct 1965 master tape- 4 track
[a] mono 25 Oct 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 26 Oct 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965, Apple PCSP717 The Beatles
1962-1966 1973.

 US: Capitol ST2442 Rubber Soul 1965, Apple SKBO3403 The Beatles 
1962-1966
1973. [c] stereo 1987.

 CD: Rubber Soul 1987, The Beatles 1962-1966 1993.
[c] differs from [b] several ways.
Both have the lead vocal mixed far right, but a heavy reverb added 
to [c] is mixed center, sounding almost like a double track vocal.
A breath is heard before the vocal starts in [b], the drum is 
louder in the verses on [b], and a plink in the decay of the 
guitar, left, at the end of the song is not heard in [c].
The end of the piano solo is faded away slightly better on [c].
-----
WE CAN WORK IT OUT basic recording- 20 Oct 1965 additional 
recording- 20,29 Oct 1965 master tape- 4 track
[a] mono 29 Oct 1965.

 UK: Parlophone R5389 1965, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Capitol 5555 1965, Capitol T2553 Yesterday & Today 1966. [b] 
stereo 10 Nov 1965.

 Australia: Parlophone PCSO7534 Greatest Hits 2 1965.

 US: Capitol ST2553 Yesterday & Today 1966, Apple SKBO3403 The 
Beatles
1962-1966 1973. [c] stereo 10 Nov 1966.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717 
The Beatles 1962-1966 1973.

 CD: Past Masters 2 1988, The Beatles 1962-1966 1993.
[b] has the organ mixed into the center; [c] has the organ to the 
right and nothing in the center.
-----
NORWEGIAN WOOD basic recording- 21 Oct 1965 additional recording- 
21 Oct 1965 master tape- 4 track
[a] mono 25 Oct 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 26 Oct 1965

 UK: Parlophone PCS3075 Rubber Soul 1965, Apple PCSP717 The Beatles
1962-1966 1973.

 US: Capitol ST2442 Rubber Soul 1965, Apple SKBO3403 The Beatles
1962-1966 1973. [c] stereo 1980.

 UK: Parlophone PCS7214 Ballads 1980. [d] stereo 1987.

 CD: Rubber Soul 1987, The Beatles 1962-1966 1993.
[a] has a cough after "to sit anywhere", mixed out on the others.
[c] has the vocal track in the center of the mix, while it is far 
right on [b][d].
-----
NOWHERE MAN basic recording- 22 Oct 1965 additional recording- 22 
Oct 1965 master tape- 4 track
[a] mono 25 Oct 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol 5587 1966, Capitol T2553 Yesterday & Today 1966. [b] 
stereo 26 Oct 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2553 Yesterday & Today 1966. [c] stereo 1987.

 CD: Rubber Soul 1987.
[b] and [c] have the vocals far right, but on [c] an added reverb 
vocal is placed toward the center, especially in the a cappella 
opening.
-----
MICHELLE basic recording- 3 Nov 1965 additional recording- 3 Nov 
1965 master tape- 4 track 2d generation
[a] mono 9 Nov 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 9 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965, Parlophone PMC7016 
Collection
of Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol ST2442 Rubber Soul 1965, Apple SKBO3403 The Beatles 
1962-1966
1973. [c] mono 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965, Parlophone PMC7016 
Collection
of Oldies 1966. [d] stereo 1987.

 CD: Rubber Soul 1987, The Beatles 1962-1966 1993.
[a] has louder percussion than [b].
-----
WHAT GOES ON basic recording- 4 Nov 1965 additional recording- 4 
Nov 1965 master tape- 4 track
[a] mono 9 Nov 1965

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol 5587 1966, Capitol T2553 Yesterday & Today 1966. [b] 
stereo 9 Nov 1965

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2553 Yesterday & Today 1966. [c] stereo 1987

 CD: Rubber Soul 1987.
[b] has additional guitar at the ending compared to [a].
Ringo's off-mike singing during the break and at the ending is 
easier to hear in the stereo mixes.
-----
THINK FOR YOURSELF basic recording- 8 Nov 1965 additional 
recording- 8 Nov 1965 master tape- 4 track
[a] mono 9 Nov 1965

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 9 Nov 1965

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987

 CD: Rubber Soul 1987.
-----
THE WORD basic recording- 10 Nov 1965 additional recording- 10 Nov 
1965 master tape- 4 track
[a] mono 11 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 11 Nov 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965. [d] stereo 1987.

 CD: Rubber Soul 1987.
[b] is apparently the rejected Nov 11 mix: it's not as good, and 
[d] copies [c].
The track with bass, maracas and falsetto harmony (last 2 refrains) 
is mixed left on [b] with the other instruments, right on [c], 
while the track with the second vocal track is right on [b] with 
main vocals, left on [c]. The main vocal track with the solo vocals 
on the verses is right in all cases.
[c] and [d] have extreme separation between the stereo channels.
-----
I'M LOOKING THROUGH YOU basic recording- 10 Nov 1965 additional 
recording- 10,11 Nov 1965 master tape- 4 track
[a] mono 15 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965. [b1] stereo, untrimmed.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Rubber Soul 1987.
[b1] begins with two false starts on guitar, evidently trimmed off 
[b].
-----
YOU WON'T SEE ME basic recording- 11 Nov 1965 additional recording- 
11 Nov 1965 master tape- 4 track
[a] mono 15 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965.

 US: Capitol ST2442 Rubber Soul 1965. [c] stereo 1987.

 CD: Rubber Soul 1987.
[b] fades slightly earlier.
-----
GIRL basic recording- 11 Nov 1965 additional recording- 11 Nov 1965 
master tape- 4 track
[a] mono 15 Nov 1965.

 UK: Parlophone PMC1267 Rubber Soul 1965.

 US: Capitol T2442 Rubber Soul 1965. [b] stereo 15 Nov 1965.

 UK: Parlophone PCS3075 Rubber Soul 1965, Apple PCSP717 The Beatles
1962-1966 1973.

 US: Capitol ST2442 Rubber Soul 1965, Apple SKBO3403 The Beatles 
1962-1966
1973. [c] stereo 1977.

 UK: Parlophone PCSP721 Love Songs 1977.

 US: Capitol SKBL11711 Love Songs 1977. [d] stereo 1987.

 CD: Rubber Soul 1987, The Beatles 1962-1966 1993.
[c] has the vocal track in the center of the mix.
-----
TOMORROW NEVER KNOWS basic recording- 6 Apr 1966 additional 
recording- 6,7,22 Apr 1966 master tape- 4 track
[a] mono 6 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 22 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
The tape loops must have been recorded into one of the 4 tracks of 
the master since they are in the same places in both mixes, 
although there may be trivial differences in how they are faded in 
and out in the mix.
[a] starts with the loop track at full volume while [b] fades in on 
it.
At the start of the second vocal section [b] has a feedback whistle 
in "love is all and love is everyone" while [a] does not.
-----
GOT TO GET YOU INTO MY LIFE basic recording- 8 Apr 1966 additional 
recording- 11 Apr, 18 May, 17 Jun 1966 master tape- 4 track 2d 
generation
[a] mono 17,20 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 22 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
[a] has a longer fade.
The brass sound on [a] was augmented on June 20 by lifting brass 
sound from the master and overdubbing onto the mix done on June 17.
This overdub, being on the mix tape, was not done on [b].
[a] and [b] have different vocal overdubs at the fade, the line 
"every single day of my life".
-----
LOVE YOU TO basic recording- 11 Apr 1966 additional recording- 
11,13 Apr 1966 master tape- 4 track 2d generation
[a] mono 13 Apr 1966. edited.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 21 Jun 1966. edited.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
[a] has a longer fade.
The edit is of mixes with and without ADT, details not given-- 
curiously both mixes are done that way.
-----
PAPERBACK WRITER basic recording- 13 Apr 1966 additional recording- 
13,14 Apr 1966 master tape- 4 track
[a] mono 14 Apr 1966.

 UK: Parlophone R5452 1966, Parlophone PMC7016 Collection of Oldies 
1966.

 US: Capitol 5651 1966. [b] stereo 31 Oct 1966.

 UK: Parlophone PCS7016 Collection of Oldies 1966, Apple PCSP717 
The Beatles 1962-1966 1973.

 CD: Past Masters 2 1988, The Beatles 1962-1966 1993. [c] stereo 31 
Oct 1966.

 US: Apple SW385 Hey Jude 1970, Apple SKBO3404 The Beatles 1962-
1966 1973.
[a] has louder drums, sounds compressed, has more echo, than the 
others. Ringo's timekeeping tapping during the "paperback writer" 
parts is left in.
[b] and [c] are two of three stereo mixes made the same day.
[c] has the backing vocals louder, and the stereo is reversed 
compared to [b].
-----
RAIN basic recording- 14 Apr 1966 additional recording- 14,16 Apr 
1966 master tape- 4 track 2d generation
[a] mono 16 Apr 1966.

 UK: Parlophone R5452 1966, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Capitol 5651 1966. [b] stereo 2 Dec 1969.

 US: Apple SW385 Hey Jude 1970.

 CD: Past Masters 2 1988.
The master tape has backwards vocals at the end, overdubbed from 
another take ("when the rain comes", but forwards this take has "if 
the rain comes").
-----
DOCTOR ROBERT basic recording- 17 Apr 1966 additional recording- 19 
Apr 1966 master tape- 4 track
[a] mono 12 May 1966. edited.

 US: Capitol T2553 Yesterday & Today 1966. [a1] mock from [a] 1966, 
by Capitol.

 US: Capitol ST2553 Yesterday & Today 1966 first issue. [a2] mock 
from [a] c.1970, by Capitol.

 US: Capitol ST2553 Yesterday & Today 1966 some later issues, 
c.1970. [b] stereo 20 May 1966. edited.

 UK: Parlophone PMC7009 Revolver 1966. [c] stereo 20 May 1966. 
edited.

 US: Capitol ST2553 Yesterday & Today 1966 some later issues, 
c.1973. [d] mono 21 Jun 1966. edited.

 UK: Parlophone PCS7009 Revolver 1966.

 CD: Revolver 1987.
The editing removed 43 seconds of the song in all four cases.
Of the mono mixes, [d] has the vocal mixed louder than [a], but [a] 
ends with John saying "OK Herb" (?), which is not even on [a1] 
[a2].
-----
TAXMAN basic recording- 21 Apr 1966 additional recording- 21,22 
Apr, 16 May 1966 master tape- 4 track 2d generation
[a] mono 21 Jun 1966. edited.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 21 Jun 1966. edited.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
The edit adds the countdown intro, recorded separately.
The cowbell, which is not loud in either mix, starts after "5 per 
cent appear too small" in [a] and later, at "I'm the taxman" in the 
second refrain, in [b].
The guitar is a little louder in the countdown intro in [a].
-----
AND YOUR BIRD CAN SING basic recording- 26 Apr 1966 additional 
recording- 26 Apr 1966 master tape- 4 track
[a] mono 12 May 1966. edited.

 US: Capitol T2553 Yesterday & Today 1966. [a1] mock from [a] 1966, 
by Capitol.

 US: Capitol ST2553 Yesterday & Today 1966 first issue, some later 
issues. [b] stereo 20 May 1966. edited.

 UK: Parlophone PCS7009 Revolver 1966.

 CD: Revolver 1987. [c] stereo 20 May 1966. edited.

 US: Capitol ST2553 Yesterday & Today 1966 some later issues, 
c.1973. [d] mono 6,8 Jun 1966. edited.

 UK: Parlophone PMC7009 Revolver 1966.
The editing adds the instrumental ending from a different take.
Of the mono mixes, [a] has louder handclaps than [d].
-----
I'M ONLY SLEEPING basic recording- 27 Apr 1966 additional 
recording- 29 Apr, 5,6 May 1966 master tape- 4 track
[a] mono 12 May 1966.

 US: Capitol T2553 Yesterday & Today 1966. [a1] mock from [a] 1966, 
by Capitol.

 US: Capitol ST2553 Yesterday & Today 1966 first issue. [a2] mock 
from [a] c.1970, by Capitol.

 US: Capitol ST2553 Yesterday & Today 1966 some later issues, 
c.1970. [b] stereo 20 May 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 CD: Revolver 1987. [c] stereo 20 May 1966.

 US: Capitol ST2553 Yesterday & Today 1966 some later issues, 
c.1973. [d] mono 6 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.
The "backwards guitar" effect is heard in different places in the 
four mixes, and a lead guitar track is mixed differently throughout 
the solo and at the end.
An alleged fifth mix, the "French EP", is just [d].
verse 1: no backwards guitar (BG) on any mix verse 2: [a] no BG




[b] BG on "everywhere at such a speed" and "find there's no need"




[c] BG on "running everywhere at such a speed" and "till they find






there's no need"




[d] BG on "where at such a speed" and "there's no need" solo:

[a] guitar continues into words "please don't" at end of solo




[b][d] guitar ends at end of solo




[c] guitar track fades in 2 bars late, so beginning is not heard,






and continues into "please" verse 3: [a] BG on "time" and "ceiling"




[b][c] no BG




[d] BG on "staring at the ceiling" end:

 [a] guitar starts 4 beats after the last word "sleeping"




[b][c][d] guitar starts immediately after last word "sleeping"
-----
ELEANOR RIGBY basic recording- 28 Apr 1966 additional recording- 29 
Apr, 6 Jun 1966 master tape- 4 track 2d generation
[a] mono 22 Jun 1966.

 UK: Parlophone R5489 1966, Parlophone PMC7009 Revolver 1966, 
Parlophone
PMC7016 Collection of Oldies 1966.

 US: Capitol 5715 1966, T2576 Revolver 1966. [b] stereo 22 Jun 
1966.

 UK: Parlophone PCS7009 Revolver 1966, Parlophone PCS7016 
Collection of
Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol ST2576 Revolver 1966, Apple SKBO3403 The Beatles 1962-
1966
1973.

 CD: Revolver 1987, The Beatles 1962-1966 1993.
The ADT in [b] continues into "Elean" in 1st verse, by mistake.
-----
FOR NO ONE basic recording- 9 May 1966 additional recording- 
9,16,19 May 1966 master tape- 4 track 2d generation
[a] mono 21 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 21 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
-----
YELLOW SUBMARINE basic recording- 26 May 1966 additional recording- 
26 May, 1 Jun 1966 master tape- 4 track 2d generation
[a] mono 3 Jun 1966.

 UK: Parlophone R5489 1966, Parlophone PMC7009 Revolver 1966, 
Parlophone
PMC7016 Collection of Oldies 1966.

 US: Capitol 5715 1966, T2576 Revolver 1966. [b] stereo 22 Jun 
1966.

 UK: Parlophone PCS7009 Revolver 1966, Parlophone PCS7016 
Collection of
Oldies 1966, Apple PCSP717 The Beatles 1962-1966 1973.

 US: Capitol ST2576 Revolver 1966, Apple SKBO3403 The Beatles 1962-
1966
1973.

 CD: Revolver 1987, The Beatles 1962-1966 1993.
The guitar comes in right away in [a] but after "town" in [b].
At the start of verse 3, a splash sound effect is faded away 
quickly on [a] as the vocal starts, but continues over "and we live 
a life" in [b].
John is heard repeating the vocal after the first line of verse 3 
("life of ease") in [a] but not until the next line ("all we need") 
in [b].
-----
I WANT TO TELL YOU basic recording- 2 Jun 1966 additional 
recording- 2,3 Jun 1966 master tape- 4 track
[a] mono 3 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 21 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
-----
GOOD DAY SUNSHINE basic recording- 8 Jun 1966 additional recording- 
8,9 Jun 1966 master tape- 4 track
[a] mono 22 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966. [b] stereo 22 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987.
The bass drum is missing at the very end in [b].
-----
HERE, THERE AND EVERYWHERE basic recording- 14 Jun 1966 additional 
recording- 14,16,17 Jun 1966 master tape- 4 track 2d generation
[a] stereo 21 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966.

 CD: Revolver 1987. [b] mono 21 June 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966.
-----
SHE SAID SHE SAID basic recording- 21 Jun 1966 additional 
recording- 21 Jun 1966 master tape- 4 track 2d generation
[a] mono 22 Jun 1966.

 UK: Parlophone PCS7009 Revolver 1966.

 US: Capitol ST2576 Revolver 1966. [b] stereo 22 Jun 1966.

 UK: Parlophone PMC7009 Revolver 1966.

 US: Capitol T2576 Revolver 1966.

 CD: Revolver 1987.
-----
STRAWBERRY FIELDS FOREVER basic recording- 29 Nov 1966 and 8 Dec 
1966 additional recording- 29 Nov 1966 and 8,9,15,21 Dec 1966 
master tape- 4 track 3d generation
[a] mono 22 Dec 1966. edited.

 UK: Parlophone R5570 1967.

 US: Capitol 5810 1967, Capitol MAL2835 Magical Mystery Tour 1967. 
[b] stereo 29 Dec 1966. edited.

 US: Capitol SMAL2835 Magical Mystery Tour 1967, Apple SKBO3404 The
Beatles 1967-1970 1973.

 UK: Apple PCSP718 1967-1970 1973. [c] stereo 26 Oct 1971. edited.

 Germany: Apple 1C072-04449 Magical Mystery Tour 1971.

 CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993.
This is two recordings mixed separately and edited together at 
exactly 1:00, going from "Let me take you down,'cause I'm" from 
take 7 of 29 Nov, into "going to, Strawberry Fields" from take 26 
of 15 Dec.
The mix of take 7 itself involves an edit, at the silence at 0:55, 
since take 7 has no refrain between verses 1 and 2; "Let me take 
you down, 'cause I'm" is from a later part of take 7.
Take 7 is just a 2d generation tape.
The second part, take 26, is a complicated 3d generation tape.
A drum and percussion track from take 15 and a similar edit piece 
for the end, take 24, were copied and edited to 2d generation take 
25, on which more was overdubbed, and mixed down to take 26 for 
more overdubs.
The "cranberry sauce" must be from take 24.
This whole second part was recorded at a faster tempo and slowed 
down during preparation of the combined recording.
There may be a slight slide in tape speed right around the join, 
too.
[c] has better percussion sound than [b] and more stereo 
separaration.
[b] has a nice effect at the edit, panning the cello and trumpet 
track from left to right, where it stays, distracting the listener 
from the edit itself; in [c] this track just starts suddenly on the 
right.
[c] pans the swordmandel track from left to right at the start of 
both verse 2 and 3; it's centered in [b].
John counts down the rest before the start of verse 2 and 3, 
properly mixed out in [b] but heard in [c].
The fadeout-fadein near the end goes to a moment of silence in [c], 
but comes back immediately in the others.
[c] has a slightly longer final fade so we hear a second "cranberry 
sauce" in the drum track, left.
-----
WHEN I'M SIXTY-FOUR basic recording- 6 Dec 1966 additional 
recording- 6,8,20,21 Dec 1966 master tape- 4 track 2d generation
[a] mono 30 Dec 1966.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
The tape was speeded up when mixed.
-----
PENNY LANE basic recording- 29 Dec 1966 additional recording- 29,30 
Dec 1966, 4,5,6,9,10,17 Jan 1967 master tape- 4 track 4th 
generation
[a] mono 17 Jan 1967.

 US: Capitol 5810 1967 promo copies only. [b] mono 25 Jan 1967.

 UK: Parlophone R5570 1967.

 US: Capitol 5810 1967, Capitol MAL2835 Magical Mystery Tour 1967. 
[b1] mock from [b] 1967, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 first issue. [b2] 
mock from [b] c.1970, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 second issue, Apple
SKBO3404 The Beatles 1967-1970 1973.

 UK: Apple PCSP718 1967-1970 1973. [c] stereo 30 Sep 1971.

 Germany: Apple 1C072-04449 Magical Mystery Tour 1971.

 CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. [c1] 
stereo from [c] and [a] 1980, by Capitol.

 US: Capitol SHAL12060 Rarities 1980.
[a] has an extra trumpet at the end, mixed out in [b] and [c].
The stereo mix [c] has a different extra trumpet after "clean 
machine", not heard in the mono mixes.
[c1] is a forgery made by mixing the trumpet sound from [a] onto 
the stereo mix [c].
The Brazilian LP "Beatles For Ever" (Apple 31C06604972) has the 
phrase "in summer" edited out, for reasons unknown.
-----
A DAY IN THE LIFE basic recording- 19 Jan 1967 additional 
recording- 19,20 Jan, 3,10,22 Feb 1967 master tape- 4 track 2d 
generation + 4 track (2 tapes)
[a] mono 22 Feb 1967. edited.
crossfaded 6 Apr 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 23 Feb 1967. 
edited.
crossfaded 20 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987. [b1] stereo from [b] 1973.

 UK: Apple PCSP718 The Beatles 1967-1970 1973. [b2] stereo from [b] 
1973, by Capitol.

 US: Apple SKBO3404 The Beatles 1967-1970 1973. [c] stereo 1988. 
edited.

 CD: Imagine/John Lennon 1988, The Beatles 1967-1970 1993.
The orchestra was recorded on 4 tracks of a separate 4-track tape 
(take 7) and synchronized during mixing with the Beatles tape (take 
6).
The edit is for the final note, recorded separately.
The crossfade joins the beginning to the preceding Sgt Pepper 
(reprise).
In [b1] [b2] and on a 1978 single, the crossfade is cut off, so the 
song begins later than its real beginning.
The original mix without crossfade, including a countdown not heard 
under the crossfade, appeared in a 1967 promo film. The countdown 
is likewise heard in [c], which was made for the documentary film 
"Imagine: John Lennon".
-----
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 PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 6 Mar 1967.
crossfaded 7 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967, Apple PCSP718 The Beatles
1967-1970 1973.

 US: Capitol SMAS3653 Sgt Pepper 1967, Apple SKBO3404 The Beatles
1967-1970 1973.

 CD: Sgt Pepper 1987, The Beatles 1967-1970 1993.
The crossfade joins this song to With a Little Help From My 
Friends.
The lead guitar starting around "I don't really want to stop the 
show" is louder in [a], barely there in [b].
-----
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 PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 6 Apr 1967. 
edited?

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
The editing of [a] touched up the sound effects at the end, mainly 
so the hen cluck at the very end would run straight into the 
opening of Sgt Pepper (reprise).
An Apr 6 mono mix was replaced by an Apr 19 mix [a] containing this 
edit.
"Good morning good morning good" repeats 9 times in [a], as against 
10 times in [b], probably showing this edit.
Lewisohn does not say when or if the Apr 6 stereo mix was redone, 
and perhaps it was not. Ironically the blend is better in stereo.
The lead guitar is mixed down after the break on [a] but on [b] it 
continues loud over "People running round...".
-----
FIXING A HOLE basic recording- 9 Feb 1967 at Regent Sound 
additional recording- 9 Feb at Regent Sound, 21 Feb 1967 master 
tape- 4 track 2d generation
[a] mono 21 Feb 1967. edited.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
The mono is two mixes edited together.
The mono is a few seconds longer, long fade.
-----
ONLY A NORTHERN SONG basic recording- 13 Feb 1967 additional 
recording- 14 Feb, 20 Apr 1967 master tape- 4 track + 4 track 2d 
generation (2 tapes)
[a] mono 21 Apr 1967. [a1] mock from [a] 29 Oct 1968.

 UK: Apple PCS7070 Yellow Submarine 1969.

 US: Apple SW153 Yellow Subamrine 1969.

 CD: Yellow Submarine 1987. [a2] mono from [a1] 1968.

 UK: Apple PMC7070 Yellow Submarine 1969.
The first generation, take 3, was mixed down to take 12 and 
overdubs added; then tracks of take 3 were wiped and overdubs 
added.
The mono mix is made from both synchronized, mainly from 12.
No attempt was made to make stereo. [a] was used in mono in the 
original film print of Yellow Submarine.
-----
BEING FOR THE BENEFIT OF MR KITE basic recording- 17 Feb 1967 
additional recording- 17,20 Feb, 28,29,31 Mar 1967 master tape- 4 
track 3d generation
[a] mono 31 Mar 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
[a] has more of the organ tape loops in the break after "Henry the 
horse dances the waltz", perhaps a track not brought up in the mix 
of [b]?
-----
LOVELY RITA basic recording- 23 Feb 1967 additional recording- 
23,24 Feb, 7,21 Mar 1967 master tape- 4 track 2d generation
[a] mono 21 Mar 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
Talk just before the end is audible, the last syllables "leave it" 
(or "believe it"?) being quite distinct in [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 PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967, Apple PCSP718 The Beatles
1967-1970 1973.

 US: Capitol SMAS3653 Sgt Pepper 1967, Apple SKBO3404 The Beatles
1967-1970 1973.

 CD: Sgt Pepper 1987, The Beatles 1967-1970 1993.
[a] has quite a bit of "phasing" not in [b]-- ADT with "flanging", 
deliberate tape speed manipulation for a classic pyschedelic 
effect.
Note especially the third "Lucy" line in the first refrain, but it 
continues, notable again in second refrain and in instrumental part 
leading to third refrain.
[b] sounds more natural but [a] is evidently what was desired.
For some reason a new mono mix was made 1 November 1967 for the 
original Yellow Submarine film print; this was not available for 
review.
-----
GETTING BETTER basic recording- 9 Mar 1967 additional recording- 
9,10,21,23 Mar 1967 master tape- 4 track 4th generation
[a] mono 23 Mar 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
-----
WITHIN YOU WITHOUT YOU basic recording- 15 Mar 1967 additional 
recording- 22 Mar, 3 Apr 1967 master tape- 4 track 4th generation
[a] mono 4 Apr 1967. edited.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 4 Apr 1967. 
edited.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
For both mono and stereo, "part 1" (apparently the first, vocal 
section) was mixed separately from "parts 2 and 3" (the 
instrumental and the final vocal part?), and those mixes were 
edited together.
The laughter at the end was also edited on, but [a] and [b] have a 
different laugh.
-----
SHE'S LEAVING HOME basic recording- 17 Mar 1967 additional 
recording- 20 Mar 1967 master tape- 4 track 2d generation
[a] mono 20 Mar 1967. edited.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 17 Apr 1967. 
edited.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
There are two edits of instrumental work, at the start of verses 2 
and 3. [a] was speeded up when mixed, and the orchestra has much 
more presence somehow than on [b].
-----
WITH A LITTLE HELP FROM MY FRIENDS basic recording- 29 Mar 1967 
additional recording- 29,30 Mar 1967 master tape- 4 track 2d 
generation
[a] mono 31 Mar 1967. crossfaded 6 Apr 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 7 Apr 1967. 
crossfaded 7 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967, Apple PCSP717 The Beatles
1967-1970 1973.

 US: Capitol SMAS3653 Sgt Pepper 1967, Apple SKBO3404 The Beatles
1967-1970 1973.

 CD: Sgt Pepper 1987, The Beatles 1967-1970 1993.
The crossfade joins this to the preceding song, Sgt Pepper, but the
songs do not overlap; rather, crowd noise runs from one through to 
the other.
This song starts right before the announcement "Billy Shears!", 
which is more readily apparent as a change in ambience on [a], 
since louder crowd noise covers the join better in [b].
-----
SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE) basic recording- 1 
Apr 1967 additional recording- 1 Apr 1967 master tape- 4 track
[a] mono 1 Apr 1967. edited. crossfaded 6 Apr 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967.

 US: Capitol MAS3653 Sgt Pepper 1967. [b] stereo 20 Apr 1967. 
edited. crossfaded 20 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SMAS3653 Sgt Pepper 1967.

 CD: Sgt Pepper 1987.
The crossfade joins this to the following song, A Day in the Life.
[a] starts with unknown spoken words not in [b], then both have a 
countdown with someone saying "aah" behind it, then [a] has more 
drum beats to start. During the sequence just described, crowd 
noise on [a] starts louder, dies down, then up to a cheer, while 
crowd noise on [b] stays steady at medium volume-- the crowd noise 
seems to have been added during mixing.
Right before the vocal is a "woo", louder on [a].
Toward the end on [a] Paul is heard shouting unintelligible phrases 
("we're the greatest"? among other things) starting near the last 
"Sgt Pepper's lonely", while on [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 PMC7026 Sgt Pepper 1967. [b] stereo 21 Apr 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967.

 US: Capitol SHAL12060 Rarities 1980.

 CD: Sgt Pepper 1987.
This 2 seconds of talk was placed in the inner groove of the 
Parlophone release.
It was dropped for pressings some time after 1978.
It is not exactly the same for all pressings due to the runout 
groove meeting the inner groove at different points in different LP 
masters.
For CD it is repeated into a fadeout.
-----
[ DOG CUT ] basic recording- none additional recording- none master 
tape- none
[a] mono 28 Apr 1967.

 UK: Parlophone PMC7026 Sgt Pepper 1967. [b] stereo 1 May 1967.

 UK: Parlophone PCS7026 Sgt Pepper 1967. [c] stereo 1987.

 CD: Sgt Pepper 1987.
This 15 Hz tone was placed after A Day in the Life during disk 
cutting.
The dates shown [a] and [b] are for the first cut for Parlophone; 
it was recreated for later cuts.
For CD it was recreated when the CD was mastered.
-----
MAGICAL MYSTERY TOUR basic recording- 25 Apr 1967 additional 
recording- 25,26,27 Apr, 3 May, 7 Nov 1967 master tape- 4 track 3d 
generation
[a] mono 4 May,7 Nov 1967.

 UK: Parlophone MMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol MAL2835 Magical Mystery Tour 1967. [b] stereo 7 Nov 
1967.

 UK: Parlophone SMMT1 Magical Mystery Tour (EP) 1967, Apple PCSP718 
The Beatles 1967-1970 1973.

 US: Capitol SMAL2835 Magical Mystery Tour 1967, Apple SKBO3404 The
Beatles 1967-1970 1973.

 CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993.
The original Magical Mystery Tour film soundtrack uses a May 4 mono 
mix with different vocals at the beginning: a faster "Roll up, roll 
up, roll up" with "hurry! hurry!" over it, as well as spoken lines 
by John during the break ("When a man buys a ticket for a magical 
mystery tour. . . the incredible Magical Mystery Tour", the last 
part given heavy reverb).
The stereo mix made in 1988 for home video has the same variant 
vocals (though the "hurry" lines are louder).
These vocals unique to the film may, like the sound effects, be on 
the film soundtrack proper and not on the 4-track master of the 
song.
Lewisohn says a new vocal line (unspecified) was added Nov 7 to 
existing mixes.
Possibly this is the "Roll up..." line heard on record.
No stereo mix is booked prior to Nov 7 either so I presume it was 
made then.
Near the end of the instrumental break, the brass part under 
"aaaah" is longer in stereo [c] than [b].
-----
BABY, YOU'RE A RICH MAN basic recording- 11 May 1967 at Olympic 
Sound additional recording- 11 May 1967 at Olympic Sound master 
tape- 4 track 2d generation
[a] mono 11 May 1967 at Olympic Sound.

 UK: Parlophone R5620 1967.

 US: Capitol 5964 1967, Capitol MAL2835 Magical Mystery Tour 1967. 
[a1] mono, untrimmed.

 US: Capitol 5964 later issues, Capitol Starline A6300 1981. [a2] 
mock from [a] 1967, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 first issue. [a3] 
mock from [a] c.1970, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 second issue. [b] 
stereo 22 Oct 1971.

 Germany: Apple 1C072-04449 Magical Mystery Tour 1971.

 CD: Magical Mystery Tour 1987.
[a] is 9 seconds longer, long fade, compared to [b].
The untrimmed [a1] has the end of the word "seven" or "eleven" 
spoken just before the song starts.
-----
ALL TOGETHER NOW basic recording- 12 May 1967 additional recording- 
12 May 1967 master tape- 4 track
[a] stereo 29 Oct 1968.

 UK: Apple PCS7070 Yellow Submarine 1969.

 US: Apple SW153 Yellow Submarine 1969.

 CD: Yellow Submarine 1987. [a1] mono from [a] 1968.

 UK: Apple PMC7070 Yellow Submarine 1969.
A mono mix made 12 May 1967 was used only in the original Yellow 
Submarine film print.
-----
YOU KNOW MY NAME (LOOK UP THE NUMBER) basic recording- 17 May 1967 
and 8 Jun 1967 additional recording- 17 May 1967 and 8 Jun 1967; 30 
Apr 1969 master tape- 4 track 3d generation
[a] mono 9 Jun 1967, 30 Apr, 26 Nov 1969. edited.

 UK: Parlophone R5833 1970, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Capitol 2764 1970, Capitol SHAL12060 Rarities 1980.

 CD: Past Masters 2 1988.
Recorded in 5 parts, part 1 on May 17 and the others on Jun 8, 
1967; edited together Jun 9; all vocals (and other sounds) added 
Apr 30, 1969; copied and edited Nov 26, 1969.
-----
IT'S ALL TOO MUCH basic recording- 25 May 1967 at De Lane Lea 
additional recording- 31 May, 2 Jun 1967 at De Lane Lea master 
tape- 4 track 2d generation
[a] stereo 17 Oct 1968. edited.

 UK: Apple PCS7070 Yellow Submarine 1969.

 US: Apple SW153 Yellow Submarine 1969.

 CD: Yellow Submarine 1987. [a1] mono from [a] 1968. edited.

 UK: Apple PMC7070 Yellow Submarine 1969.
An excerpt of a mono mix made 12 October 1967 was used only in 
original film prints of Yellow Submarine.
The portion used includes a verse not included in [a], and a 
bootleg of a radio broadcast shows the mono mix to be 8:25.
In the stereo mix, most of the sound that is not placed center is 
placed using ADT to both left and right, so it sounds very dense.
-----
ALL YOU NEED IS LOVE basic recording- 14 Jun 1967 at Olympic Sound 
additional recording- 19,23,24,25,26 Jun 1967 master tape- 4 track 
3d generation
[a] mono 26 Jun 1967.

 UK: Parlophone R5620 1967.

 US: Capitol 5964 1967, Capitol MAL2835 Magical Mystery Tour 1967. 
[a1] mock from [a] 1967, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 first issue. [a2] 
mock from [a] c.1970, by Capitol.

 US: Capitol SMAL2835 Magical Mystery Tour 1967 second issue. [b] 
stereo 29 Oct 1968.

 UK: Apple PCS7070 Yellow Submarine 1969, Apple PCSP718 The Beatles
1967-1970 1973.

 US: Apple SW153 Yellow Submarine 1969, Apple SKBO3404 The Beatles
1967-1970 1973.

 CD: Yellow Submarine 1987, The Beatles 1967-1970 1993. [b1] mono 
from [b] 1968.

 UK: Apple PMC7070 Yellow Submarine 1969.
[a], compared to [b], has more horns but less drums in the intro, 
louder lead guitar, and a longer fade by 10 seconds so that 
"Greensleeves" is heard twice.
In [b] a voice says "Check!" 25 seconds in.
A new mono mix made 1 November 1967 was used for original film 
prints of Yellow Submarine.
Note that Capitol made an improved mock stereo mix for Magical 
Mystery Tour after it had a true stereo mix available on the Yellow 
Submarine album.
-----
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 MMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol MAL2835 Magical Mystery Tour 1967. [b] stereo 6 Nov 
1967.

 UK: Parlophone SMMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol SMAL2835 Magical Mystery Tour 1967.

 CD: Magical Mystery Tour 1987.
[a] has "phasing" in the last verse, not in [b].
The right and left channels of stereo in [b] switch twice as a 
special effect; the 1988 stereo mix made for the Magical Mystery 
Tour home video does not do so.
-----
I AM THE WALRUS basic recording- 5 Sep 1967 additional recording- 
5,6,27,28,29 Sep 1967 master tape- 4 track 2d generation + 4 track 
2d generation (2 tapes)
[a] mono 29 Sep 1967. edited.

 UK: Parlophone R5655 1967, Parlophone MMT1 Magical Mystery Tour 
(EP) 1967. [a1] mono 29 Sep 1967. edited.

 US: Capitol 2056 1967. [a2] mono from [a1] 1967, by Capitol.

 US: Capitol MAL2835 Magical Mystery Tour 1967. [b] stereo, and 
mock from [a], 6,17 Nov 1967. edited.

 UK: Parlophone SMMT1 Magical Mystery Tour (EP) 1967, Apple PCSP718 
The Beatles 1967-1970 1973.

 CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993. [b1] 
stereo and mock from [b]. edited (by Capitol?).

 US: Capitol SMAL2835 Magical Mystery Tour 1967, Apple SKBO3404 The 
Beatles
1967-1970 1973. [b2] stereo and mock from [b], and mock from [a1] 
1980, by Capitol.

 Capitol: SHAL12060 Rarities 1980.
The orchestra and choral singers were recorded on two generations 
of a separate tape, take 25, with edit pieces, synchronized during 
mixing to the Beatles on take 17, making a difficult mix that took 
many tries to get. Lewisohn does not describe this as two tapes at 
mix stage.
[a] is reportedly mono mix 23, an edit of mono mix 10 (to the end 
of the second "Goo Goo Gajoob") and mono mix 22.
Mix 22 is the one with the radio sound mixed in, a BBC broadcast of 
King Lear.
[a] has three edits, all in the first part of the song, mono mix 
10: 2 of the 6 beats in the into are cut off; a cymbal crash at the 
first "Goo Goo Gajoob" is mixed out; a few beats after "I'm crying" 
are edited out.
[a1] is similar to [a] and has the first two of the three edits.
The beats after "I'm crying" remain in place.
This could be mix 22 in its entirety, which Lewisohn says is a 
complete mix of the whole song, or it could be a copy of an early 
state of mix 23.
[a2] appears to be an attempt to copy the edit in [a], but the edit 
is slightly different.
[b] is a stereo mix from the synchronized tapes up to the same spot 
as the edit in [a].
After that [b] is mock stereo made from mono mix 22, in order to 
get the radio sound, which was added sound-on-sound to the mono 
mix.
[b] has all 6 beats of the intro, and has the cymbal crash at the 
end of verse 1, but the third edit, the beats after "I'm crying", 
was done.
The mock stereo sound starts panning left and right near the end of 
the fadeout.
[b1] is [b] with the first 2 beats of the intro cut off, as in [a].
This might have been done by Capitol.
[b2] is a forgery made by Capitol.
The beats after "I'm crying" have been edited in, in mock stereo, 
to create a bogus complete stereo version.
The stereo home video release of Magical Mystery Tour probably is 
[b] with the first 2 beats cut off, therefore like [b1].
It may be a new mix but given the many tries it took in 1967 I 
doubt it was done again in 1988.
-----
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 SMMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol SMAL2835 Magical Mystery Tour 1967.

 CD: Magical Mystery Tour 1987. [b] mono 7 Nov 1967. edited.

 UK: Parlophone MMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol MAL2835 Magical Mystery Tour 1967.
Lewisohn notes editing but does not explain.
[a] includes a backing vocal track mixed center, part of it 
backwards, that is hardly used at all in [b].
The mixes have a very heavy use of "phasing", that is, ADT with 
"flanging", deliberate tape speed variation, and in this case 
relatively long delay in repeating the sound.
The 1988 stereo mix for home video Magical Mystery Tour, like [a], 
makes very little use of the backing vocal track, so sounds quite 
different from [b].
-----
FLYING basic recording- 8 Sep 1967 additional recording- 8,28 Sep 
1967 master tape- 4 track 2d generation
[a] mono 28 Sep 1967. edited.

 UK: Parlophone MMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol MAL2835 Magical Mystery Tour 1967. [b] stereo 7 Nov 
1967. edited.

 UK: Parlophone SMMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol SMAL2835 Magical Mystery Tour 1967.

 CD: Magical Mystery Tour 1987.
Several minutes at the end was edited off.
[b] is a few seconds longer, long fade; on [a] the tape loop track 
begins earlier.
[a] has louder guitars near the beginning.
The home video Magical Mystery Tour has a 1988 stereo mix similar 
to the old mono mix [a].
-----
THE FOOL ON THE HILL basic recording- 25 Sep 1967 additional 
recording- 25,26,27 Sep, 20 Oct 1967 master tape- 4 track 4th 
generation
[a] mono 25 Oct 1967. edited.

 UK: Parlophone MMT1 Magical Mystery Tour (EP) 1967.

 US: Capitol MAL2835 Magical Mystery Tour 1967. [b] stereo 1 Nov 
1967. edited.

 UK: Parlophone SMMT1 Magical Mystery Tour (EP) 1967, Apple PCSP718 
The Beatles 1967-1970 1973.

 US: Capitol SMAL2835 Magical Mystery Tour 1967, Apple SKBO3404 The
Beatles 1967-1970 1973.

 CD: Magical Mystery Tour 1987, The Beatles 1967-1970 1993.
The editing is unspecified by Lewisohn.
On [a] the vocal track is faded out a little sooner in the fadeout.
The Magical Mystery Tour uses a 1988 stereo mix that is similar to 
these two.
-----
HELLO GOODBYE basic recording- 2 Oct 1967 additional recording- 
2,19,20,25 Oct, 2 Nov 1967 master tape- 4 track 4th generation
[a] mono 2 Nov 1967.

 UK: Parlophone R5655 1967.

 US: Capitol 2056 1967, Capitol MAL2835 Magical Mystery Tour 1967,
Apple SKBO3404 The Beatles 1967-1970 1973. [b] stereo 6 Nov 1967.

 UK: Apple PCSP718 The Beatles 1967-1970 1973.

 US: Capitol SMAL2835 Magical Mystery Tour 1967.

 CD: Magical Mystery Tour 1987.
-----
THE INNER LIGHT basic recording- 12 Jan 1968 at EMI Bombay, India 
additional recording- 6,8 Feb 1968 master tape- 4 track 2d 
generation
[a] mono 8 Feb 1968.

 UK: Parlophone R5675 1968, Parlophone PSLP261/PCM1001 Rarities 
1978-79.

 US: Capitol 2138 1968, Capitol SHAL12060 Rarities 1980. [b] stereo 
27 Jan 1970.

 UK: Parlophone SGE1 (EP) 1981.

 CD: Past Masters 2 1988.
-----
LADY MADONNA basic recording- 3 Feb 1968 additional recording- 3,6 
Feb 1968 master tape- 4 track 3d generation
[a] mono 15 Feb 1968.

 UK: Parlophone R5675 1968.

 US: Capitol 2138 1968. [b] stereo 2 Dec 1969.

 UK: Apple PCSP718 The Beatles 1967-70 1973.

 US: Apple SW385 Hey Jude 1970, Apple SKBO3404 The Beatles 1967-
1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
The decay on the last piano note is cut off on both mixes but lasts 
longer on [a].
-----
ACROSS THE UNIVERSE basic recording- 4 Feb 1968 additional 
recording- 4,8 Feb 1968, 1 Apr 1970 master tape- 4 track 2d 
generation
[a] stereo 2 Oct 1969.

 UK: Regal Starline SRS5013 No One's Gonna Change Our World 1969,
Parlophone PSLP261/PCM1001 Rarities 1978-79, Parlophone PCS7214
Ballads 1980.

 US: Capitol SHAL12060 Rarities 1980.

 CD: Past Masters 2 1988. [b] stereo 2 Apr 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970, Apple PCSP718 The Beatles
1967-1970 1973.

 US: Apple AR34001 Let It Be 1970, Apple SKBO3404 The Beatles 1967-
1970
1973.

 CD: Let It Be 1987, The Beatles 1967-1970 1993.
Neither of these is at the recorded speed; [a] is faster and [b] is 
slower than the original tape.
The finished mono mix made in Feb 1968 has never been issued.
[a] has animal sounds overdubbed during mixing for SRS5013, a 
benefit album for the World Wildlife Fund.
[b] has most of the original instrumentation mixed out and replaced 
by new orchestra and choral vocals recorded in 1970.
-----
HEY BULLDOG basic recording- 11 Feb 1968 additional recording- 11 
Feb 1968 master tape- 4 track
[a] stereo 29 Oct 1968.

 UK: Apple PCS7070 Yellow Submarine 1969.

 US: Apple SW153 Yellow Submarine 1969.

 CD: Yellow Submarine 1987. [a1] mono from [a] 1968.

 UK: Apple PMC7070 Yellow Submarine 1969.
An 11 February 1968 mono mix was in the film print used at the 
London premiere of Yellow Submarine, but the song was then dropped 
from the film entirely.
The version with the song has occasionally appeared in the UK.
-----
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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [a1] mono from [a] 1968.

 UK: Apple PMC7068 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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [a1] mono from [a] 1968.

 UK: Apple PMC7068 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.
-----
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 PMC7067 white album 1968.

 US: Capitol SHAL12060 Rarities 1980. [b] stereo 11 Oct 1968. 
edited.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[a] runs faster as mixed, has more fiddle, and different fiddle at 
the end. The edit added the intro.
-----
BLACKBIRD basic recording- 11 Jun 1968 additional recording- 11 Jun 
1968 master tape- 4 track
[a] stereo 13 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 13 Oct 1968.

 UK: Apple PMC7067 white album 1968.
The overdubs of bird sounds were done differently.
-----
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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 12 Oct 1968.

 UK: Apple PMC7068 white album 1968.
-----
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 PCS7067 white album 1968, Apple PCSP718 The Beatles 
1967-1970
1973.

 US: Apple SWBO101 white album 1968, Apple SKBO3404 The Beatles 
1967-1970
1973.

 CD: white album 1987, The Beatles 1967-1970 1993. [b] mono 12 Oct 
1968.

 UK: Apple PMC7067 white album 1968.
[a] misses handclaps in the intro, heard in [b].
-----
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 1968.

 US: Apple 2276 1968. [b] stereo 5 Dec 1969.

 US: Apple SW385 Hey Jude 1970, Apple SKBO3404 The Beatles 1967-
1970 1973.

 UK: Apple PCSP718 The Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1973.
The song was deliberately distorted during recording and mixing, so 
since [a] sounds more distorted and compressed, it's better!
-----
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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 15 Oct 1968.

 UK: Apple PMC7068 white album 1968.
-----
GOOD NIGHT basic recording- 22 Jul 1968 additional recording- 22 
Jul 1968 master tape- 4 track
[a] mono 11 Oct 1968.

 UK: Apple PMC7068 white album 1968. [b] stereo 11 Oct 1968.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[b] fades in; [a] does not.
-----
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 1968.

 US: Apple 2276 1968. [b] stereo 5 Dec 1969.

 US: Apple SW385 Hey Jude 1970, Apple SKBO3404 The Beatles 1967-
1970 1973.

 UK: Apple PCSP718 The Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
Drums are mixed louder on [b].
[a] is 5 seconds longer, long fade.
This song has appeared with early fades on some compilations.
-----
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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 12 Oct 1968.

 UK: Apple PMC7068 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 PMC7068 white album 1968. [b] stereo 14 Oct 1968.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[b] has an extra tap at the start.
[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 PMC7068 white album 1968. [b] stereo 20 Oct 1968. 
edited.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
The 2d generation tape is an edit of two mixdowns, the edit causing 
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 
[a].
[a] is 11 seconds longer, long fade.
-----
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 PMC7067 white album 1968. [b] stereo 10 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: 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 PMC7067 white album 1968. [b] stereo 13 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
Of two vocal lines, the high 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 PMC7067 white album 1968. [b] stereo 13 Oct 1968.

 UK: Apple PCS7067 white album 1968, Apple PCSP718 The Beatles 
1967-1970
1973.

 US: Apple SWBO101 white album 1968, Apple SKBO3404 The Beatles 
1967-1970
1973.

 CD: white album 1987, The Beatles 1967-1970 1993.
The plane sound effects differ in [a] and [b].
[a] has louder piano, a yell after the opening plane sound, and 
drumbeats under the closing plane sound. [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 PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 13 Oct 1968.

 UK: Apple PMC7067 white album 1968.
[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 PMC7067 white album 1968. [b] stereo 14 Oct 1968.

 UK: Apple PCS7067 white album 1968, Apple PCSP718 The Beatles 
1967-1970
1973.

 US: Apple SWBO101 white album 1968, Apple SKBO3404 The Beatles 
1967-1970
1973.

 CD: white album 1987, The Beatles 1967-1970 1993.
This is the first 8 track recording (by anyone) at EMI Abbey Road.
The Clapton guitar remains loud in [a] after the solo break, not in 
[b]. Near the end of the fadeout only [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 PMC7068 white album 1968.

 US: Capitol SHAL12060 Rarities 1980. [b] stereo 12 Oct 1968. 
edited.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
The basic song runs about 3:10 to a pause shortly after Paul's "Can 
you hear me speaking-- woo!" distorted vocal (too close to the 
microphone).
[a] then is edited into more of the same take, with sound effects 
noises, and fades at 3:36.
[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!".
-----
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 PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 10 Oct 1968. edited.

 UK: Apple PMC7067 white album 1968.
The edit adds the end orchestral piece.
[a] is lacking Paul's backup vocal "oh yeah" at the end of the 
break.
-----
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 PMC7067 white album 1968. [b] stereo 14 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: 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 [a].
-----
[ CAN YOU TAKE ME BACK ] basic recording- 16 Sep 1968 additional 
recording- none master tape- 4 track
[a] mono 16 Oct 1968.

 UK: Apple PMC7068 white album 1968. [b] stereo 17 Oct 1968.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: 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.
-----
BIRTHDAY basic recording- 18 Sep 1968 additional recording- 18 Sep 
1968 master tape- 8 track 2d generation
[a] mono 19 Sep 1968.

 UK: Apple PMC7068 white album 1968. [b] stereo 14 Oct 1968.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
The last "daaaance" starts twice, maybe a double-track error or a 
leak from a guide vocal, as heard on [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 PMC7067 white album 1968. [b] stereo 11 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
The overdubs of pig sounds differ.
The guitar is louder in [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 PMC7067 white album 1968. [b] stereo 15 Oct 1968. 
edited.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
The 2d generation master is an edit of (copies of) two takes with 
more material overdubbed.
ADT was added to the "I need a fix" section before mixing so both 
versions have an error where the first line was mixed out but the 
last "down" is just audible.
[a] has louder bass in the "I need a fix" section, and laughter 
near the very end.
[b] has more tapping under the opening line.
-----
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 PMC7068 white album 1968. [b] stereo 5 Oct 1968 at 
Trident.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[a] has a longer guitar solo.
-----
SAVOY TRUFFLE basic recording- 3 Oct 1968 at Trident additional 
recording- 3,5 Oct 1968 at Trident master tape- 8 track
[a] mono 14 Oct 1968.

 UK: Apple PMC7068 white album 1968. [b] stereo 14 Oct 1968.

 UK: Apple PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[a] has sound effects at the start of the instrumental break, and 
the guitar continues for a while after the break.
[b] has an organ in the last verse missing 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 PMC7067 white album 1968. [b] stereo 5 Oct 1968 at 
Trident.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: 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 PCS7068 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 14 Oct 1968.

 UK: Apple PMC7068 white album 1968.
Doubletracking starts at the first "long" in [a], the third "long" 
in [b], and sounds somewhat different thereafter.
The guitar is mixed louder in [a].
-----
I'M SO TIRED basic recording- 8 Oct 1968 additional recording- 8 
Oct 1968 master tape- 8 track
[a] mono 10 Oct 1968.

 UK: Apple PMC7067 white album 1968. [b] stereo 10 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US:Apple SWBO101 white album 1968.

 CD: white album 1987.
Paul's harmony at the first "You say" is louder in [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 PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 9 Oct 1968. edited.

 UK: Apple PMC7067 white album 1968.
The intro guitar was edited on.
The "eh up" after the song is part of this recording.
-----
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 PMC7067 white album 1968. [b] stereo 16 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987.
[a] lacks handclaps in the intro.
-----
JULIA basic recording- 13 Oct 1968 additional recording- 13 Oct 
1968 master tape- 4 track
[a] stereo 13 Oct 1968.

 UK: Apple PCS7067 white album 1968.

 US: Apple SWBO101 white album 1968.

 CD: white album 1987. [b] mono 13 Oct 1968.

 UK: Apple PMC7067 white album 1968.
 -----
MAGGIE MAE basic recording- 24 Jan 1969 at Apple additional 
recording- none master tape- 8 track
[a] stereo 26 Mar 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
-----
FOR YOU BLUE basic recording- 25 Jan 1969 at Apple additional 
recording- ? Jan 1969 at Twickenham, 8 Jan 1970 master tape- 8 
track
[a] stereo 25 Mar 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple 2837 1970, Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
"Queen says no to pot-smoking FBI members" was recorded at some 
date 2-10 Jan 1969 at Twickenham Film Studios and edited onto the 
start.
It was omitted on the US single.
This dialog was on the filmmaker's mono sound tape.
The Jan 1970 vocal overdubs included the spoken words during the 
solo, apparently.
The same take does not have the words in the March 1969 mix or the 
"Get Back" album.
-----
DIG IT! basic recording- 26 Jan 1969 at Apple additional recording- 
24 Jan 1969 at Apple master tape- 8 track
[a] stereo 27 Mar 1970. crossfaded.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
This segment of an 8 minute song was crossfaded into "That was can 
you dig it . . .hark the angels come", recorded 24 Jan 1969 at 
Apple.
-----
GET BACK basic recording- 27 Jan 1969 at Apple additional 
recording- 28 Jan 1969 at Apple, 30 Jan 1969 at Apple (roof) master 
tape- 8 track
[a] mono 7 Apr 1969 at Olympic Sound. edited.

 UK: Apple R5777 1969. [b] stereo 7 Apr 1969 at Olympic Sound. 
edited.

 UK: Apple PCSP718 The Beatles 1967-1970 1973.

 US: Apple 2490 1969, Apple SKBO3404 The Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993. [c] stereo 26 
Mar 1970. edited.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
[a] and [b] are similar.
After a pause, after a high "woo", it continues into a coda with 
half-spoken words into a fadeout.
[a] fades slightly longer, but [b] is heard a second longer than 
usual on Capitol's 20 Greatest Hits LP.
The coda seems to be edited from another take, and if so the main 
song may be Jan 27 and the coda Jan 28; Lewisohn says the version 
with the coda is from Jan 28.
Evidence of the edit is that the March 1969 stereo mix (as heard on 
bootleg) ends at the "woo", over off-mike talking, and continues a 
few seconds into silence and a guitar noise.
The unreleased "Get Back" albums compiled later use the mix [b] 
from the single.
[c] is edited after the "woo" into speech recorded 30 Jan 1969, at 
the end of the last "rooftop" performance of Get Back: "(cheers) 
Thanks Mo. . . we hope we passed the audition".
The speech at the beginning may or may not belong there.
The March 1969 mix has the "Rosetta" before the song but not the 
"Sweet Loretta Fart" verse, but for obvious reasons the latter may 
have been cut out of the March 1969 mix if it was spoken there.
-----
DON'T LET ME DOWN basic recording- 28 Mar 1969 at Apple additional 
recording- 7 Apr 1969 at Olympic Sound (?) master tape- 8 track
[a] mono 7 Apr 1969 at Olympic Sound.

 UK: Apple R5777 1969. [b] stereo 7 Apr 1969 at Olympic Sound.

 UK: Apple PCSP718 The Beatles 1967-1970 1973.

 US: Apple 2490 1969, Apple SW385 Hey Jude 1970, Apple SKBO3404 The
Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
There appears to be a second John vocal in verse 3 (trace of 
another vocal) and more clearly at the very end in the fade where 
it seems to be John overlapping on "Can you dig it"/"Don't let 
me"/"Yeah"/"Don't let me down". Or is it Paul?
If it's an overdub, it was perhaps added at the mix session, either 
live or dropped in from another tape.
The unreleased albums use a different take.
-----
I'VE GOT A FEELING basic recording- 30 Jan 1969 at Apple (roof) 
additional recording- none master tape- 8 track
[a] stereo 23 Mar 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
The talk at the end belongs, as seen in the film Let It Be.
-----
ONE AFTER 909 basic recording- 30 Jan 1969 at Apple (roof) 
additional recording- none master tape- 8 track
[a] stereo 23 Mar 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
The talk at the end and a bit of "A Londonderry Air" belongs, as 
seen in the film Let It Be.
-----
DIG A PONY basic recording- 30 Jan 1969 at Apple (roof) additional 
recording- none master tape- 8 track
[a] stereo 23 Mar 1970. edited.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
The edit removed the line "All I want is you" at the beginning and 
end, for reasons unknown.
(This song is called "I Dig a Pony" on US albums.)
-----
THE LONG AND WINDING ROAD basic recording- 31 Jan 1969 at Apple 
additional recording- 1 Apr 1970 master tape- 8 track
[a] stereo 26 Mar, 2 Apr 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970, Apple PCSP718 The Beatles
1967-1970 1973.

 US: Apple 2837 1970, Apple AR34001 Let It Be 1970, Apple SKBO3404 
The Beatles 1967-1970 1973.

 CD: Let It Be 1987, The Beatles 1967-1970 1993.
The mix removes the Beatles' instrumental work and part of the 
vocal (the second bridge) in favor of orchestra and strings 
recorded in April 1970. This take appears in the film Let It Be 
without the 1970 overdubs.
-----
LET IT BE basic recording- 31 Jan 1969 at Apple additional 
recording- 30 Apr 1969, 4 Jan 1970 master tape- 8 track
[a] stereo 8 Jan 1970.

 UK: Apple R5833 1970, Apple PCSP718 The Beatles 1967-1970 1973.

 US: Apple 2764 1970, Apple SKBO3404 The Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993. [b] stereo 26 
Mar 1970. edited.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
[a] uses lead guitar overdubbed April 1969, while [b] uses lead 
guitar overdubbed Jan 1970; both use horns from April 1969, [b] 
more prominently. [b] has a repeat of the last chorus edited in.
-----
TWO OF US basic recording- 31 Jan 1969 at Apple additional 
recording- ? Jan 1969 at Apple master tape- 8 track
[a] stereo 25 Mar 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
"I dig a pygmy. . .Doris gets her oats" recorded sometime 22-29 Jan 
1969 was edited onto the start.
Some say the song has overdubs (not specified).
-----
I WANT YOU (SHE'S SO HEAVY) basic recording- 22 Feb 1969 at Trident 
additional recording- 18,20 Apr, 8,11 Aug 1969 master tape- 8 track 
3d generation
[a] stereo 20 Aug 1969. edited.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
Three takes from Feb 22 work were edited into a master (2d 
generation), which was overdubbed, mixed down on Apr 18 (3d 
generation), and overdubbed on Apr 18 and 20 and Aug 11.
Different overdubs were made to the 2d generation tape Aug 8.
The mix is the 3d generation for 4:37 (up to "she's so") and then 
the 2d generation tape, which has a white noise added Aug 8.
-----
THE BALLAD OF JOHN AND YOKO basic recording- 14 Apr 1969 additional 
recording- 14 Apr 1969 master tape- 8 track
[a] stereo 14 Apr 1969.

 UK: Apple R5786 1969, Apple PCSP718 The Beatles 1967-1970 1973.

 US: Apple 2531 1969, Apple SW385 Hey Jude 1970, Apple SKBO3404 The
Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
The single release has a loud final drumbeat; it is faded on the 
other releases.
-----
OLD BROWN SHOE basic recording- 16 Apr 1969 additional recording- 
16,18 Apr 1969 master tape- 8 track
[a] stereo 18 Apr 1969.

 UK: Apple R5786 1969, Apple PCSP718 The Beatles 1967-1970 1973.

 US: Apple 2531 1969, Apple SW385 Hey Jude 1970, Apple SKBO3404 The
Beatles 1967-1970 1973.

 CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
The dynamic range was greater on the single than the albums-- the 
solo is louder than the rest.
-----
OH! DARLING basic recording- 20 Apr 1969 additional recording- 
20,26 Apr, 23 Jul, 8,11 Aug 1969 master tape- 8 track
[a] stereo 12 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
-----
OCTOPUS'S GARDEN basic recording- 26 Apr 1969 additional recording- 
29 Apr, 17,18 Jul 1969 master tape- 8 track
[a] stereo 18 Jul 1969.

 UK: Apple PCS7088 Abbey Road 1969, Apple PCSP718 The Beatles 1967-
1970
1973.

 US: Apple SO383 Abbey Road 1969, Apple SKBO3404 The Beatles 1967-
1970
1973.

 CD: Abbey Road 1987, The Beatles 1967-1970 1993.
-----
SOMETHING basic recording- 2 May 1969 additional recording- 5 May 
at Olympic Sound, 11,16 Jul, 15 Aug 1969 master tape- 8 track 2d 
generation
[a] stereo 19 Aug 1969.

 UK: Apple R5814 1969, Apple PCS7088 Abbey Road 1969, Apple PCSP718 
The Beatles 1967-1970 1973.

 US: Apple 2654 1969, Apple SO383 Abbey Road 1969, Apple SKBO3404 
The Beatles 1967-1970 1973.

 CD: Abbey Road 1987, The Beatles 1967-1970 1993.
-----
YOU NEVER GIVE ME YOUR MONEY basic recording- 6 May 1969 at Olympic 
Sound additional recording- 1,15,31 Jul, 5 Aug 1969 master tape- 8 
track
[a] stereo 13 Aug 1969. crossfaded 21 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The crossfade joins it to the next song Sun King / Mean Mr Mustard 
and includes sound effects not part of either song.
The sound effects in the join are the Aug 5 additional recording 
listed above, credited as part of this song but really a separate 
tape used when the crossfade was done.
-----
HER MAJESTY basic recording- 2 Jul 1969 additional recording- none 
master tape- 8 track
[a] stereo 30 Jul 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The last note was cut off a copy of the master in a rough edit done 
Jul 30 for a test of the medley, and that piece of tape was used on 
purpose for the album.
The sound at the start is the end of Mean Mr Mustard.
-----
GOLDEN SLUMBERS / CARRY THAT WEIGHT basic recording- 2 Jul 1969 
additional recording- 3,4,30,31 Jul, 15 Aug 1969 master tape- 8 
track 3d generation
[a] stereo 18 Aug 1969. crossfaded 19 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The 2d generation was an edit of two takes.
The crossfade joins this to the following song, The End; the join 
is in the guitar work after the last "carry that weight a long 
time".
-----
HERE COMES THE SUN basic recording- 7 Jul 1969 additional 
recording- 7,8,16 Jul, 6,11,15,19 Aug 1969 master tape- 8 track 2d 
generation
[a] stereo 19 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969, Apple PCSP718 The Beatles 1967-
1970
1973.

 US: Apple SO383 Abbey Road 1969, Apple SKBO3404 The Beatles 1967-
1970
1973.

 CD: Abbey Road 1987.
-----
MAXWELL'S SILVER HAMMER basic recording- 9 Jul 1969 additional 
recording- 9,10,11 Jul, 6 Aug 1969 master tape- 8 track 2d 
generation
[a] stereo 12,14 Aug 1969. edited.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The edit added an edit piece, Aug 14, to the stereo master.
A few seconds were edited out of the album master on Aug 25, so the 
master tape of the song differs from the album-- check any future 
reissues.
-----
COME TOGETHER basic recording- 21 Jul 1969 additional recording- 
22,23,25,29,30 Jul 1969 master tape- 8 track
[a] stereo 7 Aug 1969.

 UK: Apple R5814 1969, Apple PCS7088 Abbey Road 1969, Apple PCSP718 
The Beatles 1967-1970 1973.

 US: Apple 2654 1969, Apple SO383 Abbey Road 1969, Apple SKBO3404 
The Beatles 1967-1970 1973.

 CD: Abbey Road 1987, The Beatles 1967-1970 1993.
-----
THE END basic recording- 23 Jul 1969 additional recording- 
5,7,8,15,18 Aug 1969 master tape- 8 track
[a] stereo 19 Aug 1969. crossfaded 19 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The crossfade joins this to the preceding song, Golden Slumbers / 
Carry That Weight.
A few seconds were edited off the album master, so the master tape 
of the song differs from the album.
-----
SUN KING / MEAN MR MUSTARD basic recording- 24 Jul 1969 additional 
recording- 25,29 Jul 1969 master tape- 8 track
[a] stereo 14 Aug 1969. crossfaded 14,21 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The first crossfade joined this to the following item, Polythene 
Pam / She Came in through the Bathroom Window.
The second joined the combined tape to You Never Give Me Your 
Money.
-----
POLYTHENE PAM / SHE CAME IN THROUGH THE BATHROOM WINDOW basic 
recording- 25 Jul 1969 additional recording- 25,28,30 Jul 1969 
master tape- 8 track 2d generation
[a] stereo 14 Aug 1969. crossfaded 14 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
The crossfade joins this to the preceding song, Sun King / Mean Mr 
Mustard.
-----
BECAUSE basic recording- 1 Aug 1969 additional recording- 1,4,5 Aug 
1969 master tape- 8 track
[a] stereo 12 Aug 1969.

 UK: Apple PCS7088 Abbey Road 1969.

 US: Apple SO383 Abbey Road 1969.

 CD: Abbey Road 1987.
-----
I ME MINE basic recording- 3 Jan 1970 additional recording- 3 Jan, 
1 Apr 1970 master tape- 8 track
[a] 23 Mar, 2 Apr 1970.

 UK: Apple PXS1/PCS7096 Let It Be 1970.

 US: Apple AR34001 Let It Be 1970.

 CD: Let It Be 1987.
The March mix extended the song by repeating segments to build 
another bridge and verse.








© 2006- Beatlefan.Net. All Rights Reserved. A Super Seventies site.