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Paul McCartney Goofing Off

Beatles Song Anamolies

Post: 13021 of 13095
Xref: theporch rec.music.beatles:13021
From: s913391@minyos.xx.rmit.EDU.AU (Walrus)
Newsgroups: rec.music.beatles
Subject: Beatles Anomalies (long)
Date: 26 Feb 94 10:34:16 GMT
Organization: Royal Melbourne Institute of Technology, Melbourne, 
Australia.
Lines: 852
NNTP-Posting-Host: minyos.xx.rmit.edu.au


Here is the Beatles anomalies file. I noticed that the Paperback 
Writer- Frere Jacques one is in it, incidentally. I couldn't find
it on disk, but it was at a (the?) Beatles site bobcat.bbn.com...

Wal

===================================================================
What Goes On                 Originally Created by Michael Weiss
Compiled by Michael Weiss and Michael Brown                   
Version 3.00, October 1st, 1993

-------------------------------------------------------------------

Michael Weiss writes :-

In February of 1992, I started to compile a list of various sounds 
that people find on Beatles recordings. For the most part, they can
be categorized in the following manner:

1)  Flubbed lyrics/notes/beats/etc.
2)  Sounds other than the instruments/vocals/etc., such as squeaks 
or clicks.
3)  Vocal direction, such as counting, or some other means of vocal 
tagging. This does not include such count-ins as "I Saw Her 
Standing There," but may well include other count-ins that were not 
originally intended to be heard by the general public.
4)  Mixing errors, such as places where a track was brought up at 
the wrong time.
5)  Vocal comments/jokes/etc. that were not intended for direction. 
Also included are places where the vocalist is "trying out" a note 
before the vocal is supposed to come in.
6)  Punch-ins and print-through. Punch-ins are where the tape 
mechanism stops while the record head still writes to the tape 
(when vocals or instruments are "dropped in" to a track), causing a 
"fwip" sound. Print-through is where one piece of tape picks up 
the sound from an adjacent wind of tape on the reel. Usually, 
print-throughs are noticed in quiet sections that are followed by 
loud sections. I didn't consider these to be mixing errors, since 
they're part of the mechanical works rather than the people.

Michael Brown writes :-

As a regular reader of rec.music.beatles, when I saw the original 
Anomalies List, I was most pleased that someone else had noticed
that there were indeed some strange sounds in the work of the
Beatles. Inspired by this I listened to my entire collection of
Beatles tracks in an attempt to find more. Now, having a CD player,
I am going through the process again with the CD versions, and that
extra edge that CD's give sure helps to hear some of these obscure
sounds and edits!

The results of Michael Weiss's orginal list, my additions, and many 
from friends and the net in general have been combined into this
list.

On the 19th of August 1993, Michael Weiss handed over the 
compilation of the "What Goes On" file to me, with version 2.2. Any
additions, modifications, or errors should now be sent to Michael
Brown, at any of the following E-mails

Preferred: mjb@dcs.warwick.ac.uk
Alternate: csulo@csv.warwick.ac.uk
Desperate: Michael.Brown@f24.n258.z2.fidonet.org

Any contributions gratefully welcomed and acknowledged, especially 
details of what mixes/media these can and can't be heard on, eg
"single only","not on stereo mix", and corrections to timings.

Notes on this version of "What Goes On"
---------------------------------------

Rather than attempting to categorize the flubs into one of the 
original 6 categories devised by Michael Weiss, I have ordered all
of the flubs for one song together, in chronological order. This
makes it easier to take any particular track and go through and hunt
out the errors.

Also note that all times, unless taken from CD's, are not 100% 
accurate. Because of this, where possible, I have included some
vocal detail etc from the surrounding track.

Changes from the last version are marked with a '|' to the left. 
Quoting from Michael Weiss's list and personal commentary on the
original list are marked with '>'

-------------------------------------------------------------------

  A Day in the Life 1:43 Switch click as orchestra comes in (Right) 
1:44-2:16, 3:50-4:19 Mal Evans is heard counting the bars from 1 to 
24; only about the first dozen are audible, starting at about three 
to 12 2:18 An alarm clock sounds to mark the end of the first 24 
bars 2:17 Right ear - intake of breath 2:18-2:20 Someone says "One" 
to mark the downbeat. Quieter, but audible on the CD is the 
trailing "two three four" (right) 2:42-2:48 Just before and after 
the words "had a smoke", Lennon starts talking and carrying on, 
most audibly a loud "hoooo" under the word "smoke" (Right) 2:58 
(Left channel) sounds like a cough 4:50-4:52 A chair squeaking 
(three creaks total)

 All You Need Is Love 0:23 Plink of a guitar/plectrum (Left) 0:25 
(Right channel) someone says "change [something]". It sounds like 
"change tapes" or something like that. 1:19,1:23 Two edits in the 
guitar tracks, right ear
 As to the Paul V John debate, it is without doubt Paul that sings 
the "Woh Yea" toward the end, much to mellow to be John. The same 
voice sings "She Loves You Yeah Yeah Yeah, She'd Love To, Yeah 
Yeah".

 And I Love Her 1:08-1:17 Loses double tracking 2:10 Someone "Dum 
Dum Dum's" the guitar line. 2:24 Creak, someone leaning back in a 
wooden chair?

 And Your Bird Can Sing 0:02 John/Paul takes deep breath under the 
cover of the intro. (Right ear)

 Baby's in Black 1:30 Bad edit, best heard in right channel, in the 
words "Babys in black". The strummed guitar appears out of nowhere 
here, further 'enhancing' the edit 1:44 Double tracking error :- 
John (1) says "And though he'll never come back..." John (2) says 
"But though she'll never come back..." 2:04 Right ear, at the very 
end, there is a rattling of paper.

 Being for the Benefit of Mr Kite 1:44 Someone either punched out 
or faded out the beginning of the line "Having been some days ..." 
leaving "...ving been"

 Birthday 0:40-0:44 Whispering between vocalists. 2:04-2:06 
Previous take's "dance" shows through, resulting in Paul ending up 
singing "Daaaannceee/aaaance" 2:32 Laughter after the drumming 
stops.

 Blackbird Right at the very start on the White Album, someone says 
"play" in a high pitched voice.

 Come Together 2:30 Talking

 Day Tripper 1:50, 1:55, 2:32 There are two extremely noticeable 
dropouts near the end of the song. This is not on any earlier mixes 
of the same take, so it is quite likely that it happened during the 
mastering stage. Other mixes show a sound at 1:50 that was likely 
the reason for the dropout, and John's misplaced "yeah" at 2:32, 
but one has to wonder if the cure wasn't worse than the illness. 
This is particularly true in the 2:32 case, since one can STILL 
hear the "yeah." The drop outs at 1:50,1:55 punch the 1st and 6th 
notes of the riff clean out.

 Don't Bother Me 0:03 Someone (George H.?) comments about it being 
too fast

 Don't Pass Me By 0:07 Right channel, someone shouts something 1:45 
Most strangely, an alarm bell goes off in the middle of "unfair" 
(Left) 2:31-2:37 Someone (likely Ringo) sings out the beats from 
one to eight, and then shouts "ooop". At the same time John says 
(Right channel) "Give it some more!" (Level ? More of the song ?) 
2:39 (Left channel) Someone shouts something

 Eleanor Rigby 0:14 The double tracking is not brought down fast 
enough after the end of the second "Ahhh, look at all the lonely 
people" in the introduction. It continues until the second 
syllable of "Eleanor."  The bad mixing of the double tracking 
continues throughout the rest of the song, every time there is a 
transition from single to double or vice versa. 1:29 (Left channel) 
click

 Everybody's Got Something To Hide Except for Me and My Monkey 1:02 
Various shouts (left channel)

 From Me To You Ringo's bass drum pedal squeaks. (left)

 Get Back Introduced, at least on Capitol mix, by John's "Sweet 
Loretta Fart she thought she was a cleaner", "but she was a frying 
pan". There is also Paul singing "Rosetta...", John's "Great, picks 
for the fingers" and a quiet 1-2-1234 count in, a "Get In!" and a 
"Level John!"
 Outroduced (!) with a policeman (from the "on the roof" session) 
saying "I'm afraid its just too long", telling them to wind up the 
gig.

 Getting Better 0:00-0:02 Someone gives a count in for the vocals. 
Other talking. 0:28 (Right) Edit in the word "Bett/ter" 0:34 
(Right) Someone shouts "Better" under Paul's vocals 0:43-0:44 
(Right channel) whistle 0:56 Paul makes a verbal slip, "And you're 
doing the best that I can" 1:07 Piano and cymbal/hi hat do a 
"double skip", as if a faulty edit. Doesn't sound intentional. 1:26 
Sound (right)

 Girl 0:59 (Right channel) Someone (John?) coaches "tit tit tit." 
1:53 Sound of guitar being put down/picked up ?

 Good Day Sunshine 0:07 Cymbals come in suddenly, rather than a 
complete fade-in. 1:26 Someone (John? Ringo?) repeats "she feels 
good."  This appears to trigger something closely approximating a 
chuckle from Paul in the next line. Listening closely on the CD, it 
sounds like Ringo saying "She f**ing does". The last word is 
definitely not "good", very likely "does"
 1:33 Bad edit in piano track (right ear) 1:58 Cut to four vocal 
tracks is abrupt.

 Good Morning, Good Morning 0:06 "Hah!" (left ear) 0:16 Edit in 
vocals, made audible by a cut off deep breath.
 Throughout the song, the right channel contains soft drum beats, 
ostensibly used to direct the brass instruments. There are also 
hand claps.
 2:33 Where the "Good Morning" vocals fade out,there is an audible 
click as the vocals/brass stop. Just before this a voice, very 
quiet, says "Turn it off" (Right ear)

 Got to Get You Into My Life 0:03 to 0:06 Talking (Paul?) during 
intro. (Left) 1:44 Strange guitar sound. (Centre)

 Happiness is a Warm Gun 0:57 The mixers brought up a track too 
quickly. Originally, John sang the "I need a fix" line twice, but 
the first was supposed to be left out in the release. The end of 
the first "down," though, ended up on the master 1:32 High pitched 
titter from the "female" backing voices. Caught unawares by an 
early drop in? 2:21 Print-through of the word "Gun".

 Help The mono version has the intro spliced on. The vocals differ 
between the mono and stereo mixes.

 Helter Skelter 0:31, 1:43 Squeaks 0:50 Bottle rattles for about 
two seconds. 2:29 Paul sings "Yes she is, coming down fast" and 
then (closer to the mike) "Can you hear me speaking? Whoooo" 2:49-
3:09 Paul sings "Can you hear that silly bugger...Neeee..." then 
says "Come here son, I saw you do that you little bugger... Get yer 
bloody hands on your head, c'mon". Hard to hear, again OOPS helps 
to remove the loud guitar part that masks this. The "blistery 
shout" seems to be prompted, again it could be printthrough as you 
hear "hahaha  IVE GOT BLISTERS ..."

 Here Comes the Sun 0:35 George H. hits the guitar body to mark the 
unplayed beats, a la Help!

 Here, There and Everywhere 0:10 Edit between intro piece and 
"here", the tape drops out. (Left) 0:19 Right channel, "changing / 
my life" have two different sounds to them. Edit between two takes? 
1:06 At the end of guitar section, under the word "her", is a fwip. 
1:10,1:45 Between the words "everywhere" and "knowing that love..." 
is an audible 'fwip' of a punch in. (left)

 Her Majesty 0:03 (left channel) A female, vibrato voice sings a 
note, or possibly a sped up male voice.

 Hey Bulldog 1:04 Sharp edit in the guitar track, cutting in after 
"talk to me" and ending at 1:32 ??:?? Lennon sings "Big Man", and 
in the left ear Ringo shouts "Yes?" 2:06-3:04 The book "The Beatles 
Lyrics" has the words wrong to the ending. Most interesting, they 
don't include the John/Paul dialogue :- P) "Do you know any more?" 
J) "Wowowowwwaaaaa" J) Screams loudly P) "You got it, great, you 
hit it, that's it man, Woop!, that's it    you got it" J) Screams 
hysterically P) "Don't look at me man, I already have [ten children 
| grandchildren]" P) "Clap man, clap" J) "Okay" P) "Clap!"

 Hey Jude The Lewisohn reference to an "undeleted expletive" :- 
John gets the vocals line in a muddle, crossing the first and 
second verse vocals to form :-
 Paul: Remember to let her under your skin John: Remember to let 
her into your skin
 In anger, the next line then becomes
 Paul:         Then you  beeeegiin       to make it better
 John:  Ohhhhh           F**king Hell    to make it better


 I Feel Fine Capitol remix opens with drumstick clicks, and John 
saying "It's not enough" 0:06 Cough (left ear). 0:12-0:14 Snares on 
the drum kit resonate to the sound of the guitar amps, before the 
drums come in

 If I Fell 1:45 I wasn't sure if I should consider this to be in 
the list, but it's been brought to my attention several times, so 
here it is. Paul's voice cracks on the word "vain." Mono version 
eliminates this by editing in a chorus from earlier in the song.

 I'll Get You 1:13 John sings "Well, there's gonna be a time when 
I'm gonna make you mine." Paul sings "Well, there's gonna be a time 
when I'll make you change your mind"

 I'm looking through you 0:04 Paul tries out the song "Where did 
you go, Where did you go" 1:41-1:42 Two clicks (centre)

 I'm so tired 1:05 Under the word "so" in "I'm so tired" there is a 
strange vocal/instrument sound.

 I Should Have Known Better 0:06 Harmonica drops out for a bit. 
Sounds to me more like running out of breath than bad mixing. (Not 
on MONO CD version) 2:01 Double Tracking lost here 2:17 Bad edit 
between "love me to-oo-o, oh../And when I" 2:20 Double Tracking 
regained, on the words "mine, ah-ha-hine"

 I Wanna hold your hand 1:22 John, as ever, forgets the vocals, and 
adlibs "balum-a-lumba Haaand"

 I Want You (She's So Heavy) 3:39 (Center) click/edit? 4:28 
Distortion in John's yell, prompting someone in the control room to 
yell at him 4:32 (Left channel) "Quiet down!"  This is likely due 
to the distortion at 4:28

 I will Starts with a click. Maybe Ringo tapped out the count in, 
and it couldn't be trimmed without cutting into the "Who" at the 
start of the song.

 Julia 0:14 John is a bit late coming in on the "Julia" line. Is 
this him, or was it a mixing error?

 Let It Be 1:07 After the words "For though they may be parted," 
there is a whisper that I cannot make out on the right channel. 
Single version only.

 Long Long Long 2:31-2:56 A bottle rattles on one of the speakers. 
Sounds like a coin being spun on a table

 Lovely Rita 0:21,0:23 John sings as an aside "Aah, Paul" under the 
main lyric 0:33 In the right ear, after "your heart awaaay"  
"Standing..." 2:11 Edit in tape/click to join on the ending (Left) 
2:38 Ringo shouts "You'd better believe it" or "They'll never 
believe it" in the very final moments of the song.

 Lucy in the Sky With Diamonds
 0:13 Left, click 0:45 Cough ? 0:50 Guitar breaks through on right 
channel just before the "Lucy .." 1:32 John sings "grows so 
incredibly high", and a much delayed "igh" is heard Was this from a 
previous take? 1:53-1:56 Lead guitar drops out (Right)

 2:34 Paul sings harmony on the "Lu" syllable in "Lucy"; he was 
supposed to sing in tandem with John, and corrects himself by the 
second syllable.
 I do not think that it is John singing here at all. It is actually 
Paul double tracking himself. John sings the "Aaahhh" at the end of 
the phrase. The matching of the two voices is too perfect to be 
John/Paul
 3:08 Printthrough of "Aaah" audible on right channel

 Martha My Dear 1:01 Strange overlap of the words "Take a good", 
maybe overlap of two takes or an on the fly editing job. Sounds 
like an "Elvis" style echo!

 Maxwells Silver Hammer During the line "Writing fifty times I must 
not be so" Paul laughs. I think someone in the background is 
distracting him.

 Michelle 3:28 Left ear - cough

 No Reply 0:13 Between "your window" and "I saw the light" there is 
a cough and some speech (Right channel) 0:33-0:34 Loss of tape 
reverb on the words "telephone" to "were no home"

 Ob-La-Di Ob-La-Da 0:02 Paul says "remember to step it up, John," 
then coughs, then hums a few notes to hit it right. Best heard when 
this track is OOPS'd. Laughter and joking by the other Beatles too. 
0:10 Clap to mark the start of vocal track. ???:??? In the words 
"Life goes on, bra / La la how the" there is a vocal punch in, 
marked by an audible tweet just after. This is a by-product of the 
two separate erasing operations, causing an audible sound. 1:08, 
1:17 Three clicks at each of the two points 1:18 John says "home", 
in referrence to the following line. 1:42 After the line "lets the 
children lend a hand", the first time George says "arm", John says 
"leg" 2:13 John says and spells out "home" at 2:13. 2:33 After the 
line "lets the children lend a hand", the second time John says 
"foot".

 Oh Darling 2:48 Repeat of the end of the word "Darling"

 Paperback Writer 0:57 (Right channel) sounds like a cough and 
tambourine rattle 1:20 Somebody manages to forget to come in with 
the harmony until literally one second too late on the "Frere 
Jacques." (Right channel)  Likely John. 1:45 Right channel again, 
someone clears his throat, and then a couple of quiet tries at the 
correct notes before singing "Paperback Writer."

 Piggies 1:53 Print-through of "One more time"

 Please Please Me 1:27 John sings "Why do you never even try, 
girl?" Paul sings "I know you never even try, girl." John, 
apparently realizing his mistake, chuckles out his next "come on." 
Stereo Version only.

Polythene Pam 0:41 (Left channel) Someone yells "Yeah!" 0:45 (Right 
channel) Someone picks up the maraca. 0:55-1:04 (Left channel) 
Counting measures from 4 to 7. This sounds like the same voice as 
at 0:41.

 Revolution Number 1 Most certainly not "Take 18" punched into the 
tape (Lewisohn). Sounds much more likely to be "aah, Take Two".

 Revolution Number 9 Lewisohn, and other lyrics books show the 
lyrics as "Brother can you take me back ...". It sounds more like 
"Robert, can you take me ..." Also the mixer used to mix this track 
has a "scratchy" pan control. You can hear this 53 to 58 seconds 
after the first piano note and at 1:27 to 1:46 after.

 Rock and Roll Music 2:19 John sings "oughta got rock and roll 
music" instead of "gotta be..."

 Savoy Truffle After "You'll have to have them all pulled out" and 
before "You might not" there are assorted purring and cooing noises 
in the left channel

 Sgt Pepper's Lonely Hearts Club Band 0:09-0:10 "Roll over boys / 
Roll over Maurice", heavily reverbed, just before vocals start. 
0:26 Drum beat under the word "play" is cut short, possible edit? 
1:46 Left channel, the clapping fades down and straight back up. I 
think this may have been because there was not enough clapping to 
fill the space required

 Sgt Pepper's Lonely Hearts Club Band (Repriese) In the 
introduction, John says "Look up, Byeee". An increase in hum is 
heard just before this as the faders open. 1:15-1:17 After Paul's 
"Wooo", John says "Paul, hold my guitar for me". Heard using OOPS.

 She Loves You 1:23-1:30 Bad edit right after the line "I think 
it's only fair"...even the cymbals sound different. The drop in 
ends after the line "Because she loves you". Not audible in Capitol 
Remix. 1:43 to end Bad edit, this may only be in the Capitol 
"Beatles 1962-1966" Album The harmonica goes out of time, and the 
vocals suddenly double track (Left ear)

 She Said She Said 1:37 "What I've Said" [I want the ...] "I said 
no no ..." (Right)

 She's a Woman 1:25 Rhythm guitar drops out for one beat

 She's leaving home 0:13-0:14 Deep breath from Paul 
1:24,1:28,1:29:2:45 Switches being operated?

 Slow Down 1:15 One sings "Now you've got a boyfriend down the 
street". Another sings "girlfriend," and seems to stumble over the 
"down the street" part.

 Strawberry Fields Forever 0:59 Perhaps the most famous Beatles 
edit ever. In fact, it is actually two edits. The famous one is 
between take 7 and take 26. Take 7 was slower and a semitone lower 
in key. The two were edited together right between the words 
"'cause I'm" and "going to". The less known edit occurs right 
before the words "Let me take you down". It's also less 
noticeable. The edit can be heard clearly by listening to the drums 
and mellotron on the left. The drums go very dead, and the 
mellotron stops. At the same time on the right, the orchestra 
appears from nowhere. 1:17, 2:01 Counting from one to four 3:27-
4:05 Left channel, lots of talking, sounds like directions of 
sorts. 3:57, 4:03 John mutters the famous "Cranberry Sauce" twice, 
followed by "My mother made it for me."  Paul is dead fanatics 
insist that what John really says is "I Buried Paul," but that 
somehow doesn't go with "My mother made it for me."  Note that "My 
mother..." cannot be heard on any released version.
 Can someone enlighten me as to where it *can* be heard??
 The song fades out in all cases before the end of the second 
"Cranberry Sauce."  The German release of Magical Mystery Tour 
fades out later than other releases (and so, therefore, does the 
CD), but still too soon to hear the "My mother..." statement.
 Listen to the bootleg versions, they carry both "cranberrys" plus 
lots of shouting from John to Ringo, "What are you playing 
it","Alright Calm down ringo" Frank Daniels is sure that he hears 
"I'm very hoarse" instead of the claimed "Cranberry Sauce" (German 
Version). He also mentions the morse code, supposedly "J.L.". Can 
any "morse-proficient" person check this, as I feel this is 
incorrect (Like the cover to Help, which doesn't say "Help" in 
semaphore!)

 Taxman 0:03 Left channel, "One for you 19 for me  1-2-3-4" 
0:35-0:37,0:42-0:44 Right channel drops out 1:38,1:45 "Ah ah Mr 
Wilson/Heath" dropped into lead guitar track (!) with audible 
clicks

 Tell me what you see Paul tries out the initial line "If you let, 
If you let" before the song starts proper. Also the hissing of a 
revolving Lesley can be heard.

 Tell me why 1:42 Edit, or dropout, between "so in love with 
you/Tell me why". The level seems to drop sharply, and come in a 
little late ...

 The Continuing Story of Bungalow Bill 0:14 After the line "what 
did you kill..." Ringo says "I'll tell you" 0:35, 1:12, 1:49 Punch-
ins at the end of each guitar/banjo bridge, before the chorus. 3:04 
Print-through of the "Eh-up". Possibly prompting from another 
Beatle?

 The End 0:28 Someone counts "6," counting the measures of the drum 
solo.

 The Word The harmonies for this are "flown in" from a separate 
tape. Listen carefully and you will hear "Say the ..." and then the 
"wwwwooordd" slews up to speed.

 This Boy 1:27 Bad edit right after the line "'Till he's seen you 
cryyy" in the chorus.

 Tomorrow Never Knows 0:52 ADT drops out early, leaving "It is 
being, It is" in the right ear. At the same moment the organ sound 
stops. 1:28 Feedback from Leslie speaker. (Right, during "Love is 
all and love is")

 Twist 'n' Shout 1:25 Careful study of Paul's first "aaah" will 
show that half way through the pitch flattens slightly. This is 
possibly an edit between two takes. Audible on the Please Please Me 
CD, and maybe others?

 What Goes On 1:11 (Left channel) someone says something 1:35-1:54 
especially loud at 1:46-1:53 Ringo hums the melody during the 
middle eight. This left Joe Brennan wondering how many songs Ringo 
hummed during, though without a mic. 1:28 (Left channel) John says 
"TELL me why."  It's possible that John says "I already TOLD you 
why;" if so, "I already" is too faint to hear, but the inflection 
is too unclear for me to state it conclusively. 2:36-2:40 Ringo 
sings "in your mind" twice at the end of the song.

 When I'm Sixty-Four 0:38-0:42 Bass Pedal can be heard to squeak 
1:04, 2:00 Paul sings "um um" along with the other instruments, 
emphasizing the beat. 1:55 Faint piano notes 2:28 Edit in vocals 
track, "When I'm sixty four/ye  Hoo!" 2:37 Faint whistle at the end 
of the track.

 Why Don't We Do It In The Road 0:01 Squeak during drum intro. 
0:17, 0:27 Someone (Ringo?) says "yeah"

 With a little help from my friends 0:00-0:02 Centre, loud tweets 
during the word "Billy" 0:08 Noticeable increase in mains hum as 
the fader opens for Ringo's vocal (Right channel) 2:04 Right 
channel, crackles in bass line (bad lead/connector?) 2:29 Ringo 
admits that he wasn't confident about that high note at the end. 
Here you can hear an edit to join on a successful attempt at the 
last phrase, beginning with the words "Ye/es I get by with-a-
little-help-from my friends with-a-little ..."

 Within You Without You 3:41-3:47 George is singing along as (he?) 
plays the drum part, with an audible "Da da da da, two .. We were"

 Words of Love 0:59-1:04 Possible edit or drop-in in guitar track 
(Left channel). Ringo's bass drum squeaks through this one, too. 
(Left channel)

 Yellow Submarine 1:04 "And the band begins to play" ... They 
certainly do, but one of the trumpeters decides to put in a little 
trill ahead of cue! 1:51 The backing vocals come in a line and a 
half late in verse 3

 Yer Blues 1:05-1:08, 1:20, 1:26, 1:49 Feedback 1:31-1:40, 2:00-
2:07 Someone shouts out lyrics behind John's singing 2:25-2:27 
(Left channel) yells 2:29-3:16 (Left channel) faint guitar 3:16 The 
supposed "instrumental" verse at the end has some bleedover from 
the vocals of another track. This segment was spliced in from 
another take, according to Lewisohn. The edit can be heard in a 
clipped guitar note.

 Yesterday 0:19 During the word "believe" there is a squeak, sounds 
like from a violin string. (Left channel)

 You Like Me Too Much 0:00-0:08 Scratching sound of the Leslie 
speaker revolving 0:08 Click of the Leslie speaker turning off

 You Never Give Me Your Money 0:14 Piano notes 0:29 Breath is taken 
3:08 Someone picks up a tambourine 3:46-3:56 Talking and guitar 
playing

 You Won't See Me 0:02 Cough

-------------------------------------------------------------------

I'm sure there are many others. If you happen to hear any, let me 
know!
Michael Brown (mjb@dcs.warwick.ac.uk)

Thanks to those who contributed to this list:

Matthew Rupert    Bill W at Uni. of Pittsburgh
Gene Schroeder    Robert Berry
Jay Smith         Greg O'Rear
Frank Daniels     Steve Barclay
Michael Lane      Andrew Walker

Special thanks to:

Saki
Joe Brennan
Andy Van Pelt

And now, a word from our legal department:

Copyright (c) 1993, Michael Brown, all rights reserved except the 
following:
This document may be reproduced in part or in full, by any means, 
provided the first lines up to and excluding the line beginning
"Category 1," and the last lines beginning with and including the
line beginning "I'm sure there are many others," including this
copyright notice, are all included. Any reproduction that is not a
complete document must be labeled as such before distribution.
Any changes made to the document must be labeled as portions 
exclusive of this document in a fashion so as to make clear that
the author of those portions is NOT the author of this document,
and/or must be approved as a written revision from the author of
this document. No monetary compensation, short of cost of
materials and distribution, may be charged for any means of 
distribution.

-- 
-------------------------------------------------------------------
"I am he as you are he as you    |               The Walrus
 are me and we are all together" |       
s913391@minyos.xx.rmit.oz.au
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