The Usenet Guide to Beatles Recording Variations

1964

Version 2
compiled by Joseph Brennan

[ BBC radio, Saturday Club of 15 Feb 1964 ]

basic recording- 7 Jan 1964 at Playhouse Theatre
additional recording- none
master tape- mono

  • segment, Johnny B Goode

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    The source probably was taped off AM radio.

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 29 Jan 1964 ? at EMI Pathe Marconi, Paris. edited.
    Germany: Odeon O 22 671 single 1964.

  • [b] mono 10 Mar 1964. edited.
    Germany: Electrola E 83 659 Komm, Gib Mir Deine Hand 1963, Odeon O 83 756 Something New 1964.
    US: Capitol T 2018 Something New 1964.

  • [c] stereo 12 Mar 1964. edited.
    Germany: Electrola STE 83 659 Komm, Gib Mir Deine Hand 1963, Odeon STO 83 756 Something New 1964.
    US: Capitol ST 2018 Something New 1964.
    UK: Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.

  • [d] stereo/mono made from [c] 1988 by EMI.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988.

This is a new vocal dubbed onto a copy of the instrumental tracks of I want to hold your hand from October 17. The edit on all mixes is unspecified but it joins two takes of the German vocal and handclap track.

Talk ("coming"?) and at the start of the stereo mix [c] is partly cut off on Parlophone's Rarities but it's still there.

Mix [a], not in Lewisohn, is required by German single 22 671 being released on 4 Feb 1964, according to Moers as supported by the catalog number. By about March 10 Odeon was two singles along, Can't Buy Me Love 22 697. If a mix was made in Paris on 29 Jan and shipped directly to Odeon, it might have escaped EMI's bookkeeping and thus also Lewisohn's research. This single was not available for review, so I cannot confirm whether it differs in some way from the mono mixes made later. The mixes of March seem to be for the album Komm, Gib Mir Deine Hand on Electrola, and were then used for any other releases. That album was a collection of songs by various artists, issued probably March 1963. It contained two Beatles songs, the title and She loves you (not Sie Liebt Dich!).

Mix [d] sounds superficially like mono, but there is still a slight stereo separation and it can be processed back into mix [c] with vocals on side, instruments on the other.

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 29 Jan 1964 ? at EMI Pathe Marconi, Paris. edited.
    Germany: Odeon O 22 671 single 1964.

  • [b] mono 10 Mar 1964.
    US: Swan 4182 single 1964.

  • [c] stereo 12 Mar 1964.
    UK: Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    US: Capitol SHAL-12060 Rarities 1980.

  • [d] stereo/mono made from [c] 1988 by EMI.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988.

Because the master tapes of She Loves You had gone missing already, this is an all new recording (unlike Komm Gib Mir Deine Hand). It follows the original so closely that it may be they were listening to it while playing. Some have proposed that the original was not yet missing, and that the slight differences in the instrumental parts result from the editing evident on the original.

The mono mix [a] of January 29, not in Lewisohn, is required by the song being on the single O 22 671 of 4 February 1964 (see Komm, Gib Mir Deine Hand, above).

Mix [d] sounds superficially like mono, but there is still a slight stereo separation and it can be processed back into mix [c] with vocals on side, instruments on the other.

CAN'T BUY ME LOVE [outtake]

basic recording- 29 Jan 1964 at EMI Pathe Marconi, Paris
additional recording- none
master tape- 4 track
  • edit of takes 2 and 1

    [a] mono 1995. edited.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    Take 2 with the guitar solo from take 1 edited in.

An unedited take 2 was bootlegged in stereo as part of the Ultra Rare Trax material in 1988, and it shows why a guitar solo was edited in here from another take. On Anthology 1, reverb has been added.

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 1964.
    UK: Parlophone R5114 single 1964, Parlophone PMC 1230 Hard Day's Night 1964, Parlophone PMC 7016 Collection of Oldies 1966.
    US: Capitol 5150 single 1964, United Artists UAL 3366 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989.

  • [a1] mono made from [a] 1964, by United Artists.
    US: United Artists UAS 6366 Hard Day's Night 1964.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973.
    US: Apple SW-385 Hey Jude 1970, Apple SKBO-3403 The Beatles 1962-1966 1973.

  • [c] stereo 1993.
    CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The mono mix [a] has the rhythm track mixed more upfront, and sounds more powerful, but at the same time the guitar is less audible.

In both stereo mixes [b] [c], some of the drum sound appears in the center, fading up in between vocal lines and then back down, giving the impression it sounds this way on the multi-track. However, the outtake from the same day (see above) does not have this, so maybe it happened during the work in February rather than during recording. It may make for a better compressed sound in mono but sounds bad in stereo.

The stereo version that appeared the German LP The Beatles Beat, when it was issued in stereo in late 1965 or 1966, seems to have the lead guitar mixed a little softer. I think this is a mastering difference-- several songs on the LP have less harsh treble-- but this one is still open. It might be the stereo mix done March 10 and believed to be unused.

The processing by United Artists for [a1] "stereo" is curious: the song is entirely mono, except that it bounces toward right and then left channels at the vocal lines "[bounce] much for money [bounce] cause money can't buy me love".

The mono mix used in the movie (based on the American Film Institute restored version of 1996) has the guitar mixed louder. The source of this mix is unknown, and it does not appear on disk.

In earlier versions of this Variations guide, the mono mix is said to have additional drumming. It now appears to me that the same drumming is just mixed louder. Anyone care to listen?

[CBS TV, The Ed Sullivan Show of 9 Feb 1964]

basic recording- 9 Feb 1964 at CBS Studio 50, New York
additional recording- none
master tape- mono

  • segment, All My Loving

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

Broadcast live before an audience.

YOU CAN'T DO THAT [outtake]

basic recording- 25 Feb 1964
additional recording- none
master tape- 4 track

  • [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

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 single 1964, Capitol T 2080 Second 1964.

  • [a1] mock stereo made from [a] 1964, by Capitol.
    US: Capitol ST 2080 Second 1964.

  • [b] mono 26 Feb 1964.
    UK: Parlophone R5114 single 1964, Parlophone PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol SKBO-11537 Rock and Roll Music 1976.

The two mono mixes [a] [b] seem identical but Lewisohn reports separate mixes for the US and UK.

A new stereo mix of 1994 appears on the home video "The Making of A Hard Day's Night", but not on disk.

AND I LOVE HER [outtake]

basic recording- 25 Feb 1964
additional recording- none
master tape- 4 track

  • [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

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 PMC 1230 Hard Day's Night 1964.
    US: Capitol 5222 single 1964, United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Apple SW-385 Hey Jude 1970.

  • [c] stereo 1982. edited.
    US: Capitol SV-12199 Reel Music 1982.

The mono [a] fades out a little faster than the stereo [b]. The harmonica during the intro cuts out suddenly at one point (the fourth phrase) in stereo [b], but is fixed in the other two by edit: mono [a] repeats the third harmonica phrase, and the new stereo mix [c] repeats the second phrase.

In the home video A Hard Day's Night, the new stereo mix [c] is used in the train scene but the old one [b] with the harmonica mistake is used in the television show scene later, where it seems to match his movements.

Note, UK: Parlophone PCS 7218 Reel Music 1982 uses the old stereo mix [b].

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 UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5235 single 1964, Capitol T 2018 Something New 1964.

  • [b] mono 22 Jun 1964.
    UK: Parlophone PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964, Apple PCSP 717 The Beatles 1962-1966 1973.
    US: Capitol ST 2018 Something New 1964, Apple SKBO-3403 The Beatles 1962-1966 1973.

  • [c1] stereo, probably edited.
    Germany: Odeon STO 83 756 (later 1C 062-04 600) Something New 1964.
    US: Capitol SHAL-12060 Rarities 1980.

  • [d] stereo 1993.
    CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The "United Artists mix" [a] has a single track vocal (with harmonies), while the others have double track most of the way. Lewisohn does not report any 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 on a track being mixed out.

The "German stereo version" [c1] has six guitar riffs at the end instead of only four. It seems to have been made by editing in repeats, rather than being an untrimmed version, although for what purpose is unknown. It also has the guitar softer on left, but this seems to 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.

Another stereo mix with only two riffs at the end is documented on a tape copy but the original source is not known.

TELL ME WHY

basic recording- 27 Feb 1964
additional recording- 27 Feb 1964
master tape- 4 track

  • [a] mono 3 Mar 1964.
    UK: Parlophone PMC 1230 Hard Day's Night 1964.
    US: United Artists UAL 3366 Hard Day's Night 1964, Capitol T 2018 Something New 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [a1] mono made from [a] 1964, by United Artists.
    US: United Artists UAS 6366 Hard Day's Night 1964.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2018 Something New 1964.

Stereo [b] has a noise at the very end edited off the others. [a1] on UAS 6366 is mono except that in the verses it shifts toward the left for the solo call (John solo) and toward the right for the response (group).

Steve Shorten reports 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". See the American Film Institute restored version of 1996.

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 PMC 1230 Hard Day's Night 1964.
    US: United Artists UAL 3366 Hard Day's Night 1964, Capitol 5235 single 1964, Capitol T 2018 Something New 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [a1] mono made from [a] 1964, by United Artists.
    US: United Artists UAS 6366 Hard Day's Night 1964.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2018 Something New 1964.

Stereo [b] has a double track John on the intro, unlike mono [a], with a slight lag in one track at the first word "if" and at "and" in "and I've found". Paul misses the high note the second time on the word "vain" ("our new love was in vain"), as heard in stereo [b], but corrected in mono [a] by editing in the same word from the first time round (based on listening).

[a1] has the intro toward the left but all the rest centered.

[ BBC radio, From Us to You of 30 Mar 1964 ]

basic recording- 28 Feb 1964 at BBC Piccadilly Studios
additional recording- none
master tape- mono

  • segment, From Us to You

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at end.

  • segment, Just a Rumour(talk)/Roll Over Beethoven

    [a] mono 1994. edited.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at start. On the original, it crossfades from a different song (You Can't Do That), so there is an interesting edit here.

  • segment, From Fluff to You(talk)/Till There Was You

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

  • segment, I Wanna Be Your Man

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at end.

  • segment, All My Loving

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at end.

  • segment, Can't Buy Me Love

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at start.

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 PMC 1230 Hard Day's Night 1964.
    US: United Artists UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5234 single 1964, Capitol T 2018 Something New 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2018 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 ST 2080 Second 1964.
    Germany: Teldec SHZT 516 Schlagen des Jahres [collection] 1964, Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965.

  • [b] mono 10 Mar 1964.
    US: Capitol T 2080 Second 1964.
    Canada: Capitol T 6063 Long Tall Sally 1964.

  • [c] mono 4 Jun 1964.
    UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    CD: EMI EP box set 1991.

  • [d] stereo 22 Jun 1964.
    Australia: Parlophone PCSO 7533 Greatest Hits 1 1966.
    UK: Parlophone PCSP 719 Rock and Roll Music 1976.
    US: Capitol SKBO-11537 Rock and Roll Music 1976.
    CD: EMI CDP 7 90043 2 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 T 2080 Second 1964.
    Canada: Capitol T 6063 Long Tall Sally 1964.

  • [b] stereo 10 Mar 1964. edited.
    US: Capitol ST 2080 Second 1964.
  • [c] mono 4 Jun 1964. edited.
    UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    CD: EMI EP box set 1991.

  • [d] stereo 22 Jun 1964. edited.
    UK: Parlophone PCSP 719 Rock and Roll Music 1976.
    US: Capitol SKBO-11537 Rock and Roll Music 1976.
    CD: EMI CDP 7 90043 2 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 mono [a] [c], the cowbell starts right away. The older stereo mix [b] with the better guitar intro has no cowbell until the edit, which comes just before the vocal starts. In the newer stereo mix [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 the older stereo mix [b] has the vocal over on the right while the newer one [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 the older mono mix [a] and the newer stereo mix [d] it comes after the vocal, evidenced by the cowbell through the words "I call your name", but in the other two [b] [c] it comes just before that last line of vocal. The edit at the end of the solo 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 [outtake]

basic recording- 16 Apr 1964
additional recording- none
master tape- 4 track

  • [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

The heavy reverb on the opening chord and at the end were added for Anthology 1 without comment. A clean stereo mix has been bootlegged.

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 single 1964, Parlophone PMC 1230 Hard Day's Night 1964, Parlophone PMC 7016 Collection of Oldies 1966.
    US: Capitol 5222 single 1964, United Artists UAL 3366 Hard Day's Night 1964, Apple SKBO-3403 The Beatles 1962-1966 1973.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989.

  • [a1] mono made from [a] 1964, by United Artists.
    US: United Artists UAS 6366 Hard Day's Night 1964.

  • [b] mono 9 Jun 1964.
    US: United Artists K-9006 (cassette) Hard Day's Night 1968, United Artists U-9006 (8-track tape) Hard Day's Night 1970.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973.
    US: Capitol SV-12199 Reel Music 1982, Capitol SV-12245 20 Greatest Hits 1982.

  • [d] stereo 1993.
    CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

Mono [b], also used in the original film print of A Hard Day's Night, has an extended ending, made by editing, in which the guitar figure at the end is heard 5 times instead of 3; this is actually heard only in the end title. Note that [b] is not on the older reel-to-reel tape release.

[a1] is mono, but shifts toward the left for Paul's solo vocal bridge ("when I'm home. . .") and toward the right for the instrumental break.

The centering of the vocal is better in the new stereo mix [d] than the old one [c], where it is pulled a bit to the right. "Reel Music" was the first US release in stereo, 18 years late.

[Rediffusion TV, Around the Beatles, 6 May 1964]

basic recording- 19 Apr 1964
additional recording- none
master tape- 3 track

  • segment: I Wanna Be Your Man

    [a] stereo 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

  • segment: Long Tall Sally

    [a] stereo 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

  • segment: Boys [outtake]

    [a] stereo 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    Boys was not used on the program.

  • segment: Shout!

    [a] stereo 1995. edited.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    Edited from 2:00 to 1:27 for the Anthology! George calls "a little bit softer now" 17 times, but the 7th to 15th are missing; Ringo then calls "a little bit louder now" 12 times, but the 3d to 6th are missing. The volume of the vocals drops as George calls "softer" in this mix, but in the original mono mix for the show, only the instrumentals went quieter.

The songs were recorded separately ahead of time, and played back while the Beatles mimed them while recording the rest of the show a few days later before an audience. Bootlegged versions included both the mono mixes of the songs (except Boys) and the same as taken from the soundtrack of the show with audience screaming. These stereo mixes sound really bad, and since the EMI material is almost all mono on Anthology 1, why did they use this in stereo?

[ BBC radio, From Us to You of 18 May 1964 ]

basic recording- 1 May 1964 at BBC Paris Studio
additional recording- none
master tape- mono

  • segment, I Forgot to Remember

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    The source was almost certainly taped off AM radio.

MATCHBOX

basic recording- 1 Jun 1964
additional recording- 1 Jun 1964
master tape- 4 track

  • [a] mono 4 Jun 1964. edited.
    UK: Parlophone GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    US: Capitol 5255 single 1964, Capitol T 2018 Something New 1964.
    CD: EMI EP box set 1991.

  • [b] stereo 22 Jun 1964. edited.
    US: Capitol ST 2018 Something New 1964, Capitol SKBO-11537 Rock and Roll Music 1976.
    UK: Parlophone PCSP 719 Rock and Roll Music 1976.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988.

This has generous reverb on the vocal, and stereo [b] has more than mono [a]. Ringo sings the last word of "your puppy dog runs" indistinctly in mono [a], but that is corrected by an edit or overdub in stereo [b]. The guitar solo ends differently so at least one of the two has an edit there.

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 UAL 3366 and UAS 6366 Hard Day's Night 1964, Capitol 5234 single 1964, Capitol T 2018 Something New 1964.

  • [b] mono 4 Jun 1964. edited.
    UK: Parlophone PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [c] stereo 22 Jun 1964. edited.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2018 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. The mono mix used in the US [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. The UK mono mix [b] and the standard stereo mix [c] are by comparison the "short version". (Possibly, [b] is just a mono reduction of [c], explaining why only one real mono mix is documented?)

A "long version" 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 the mono long version [a] were not extended by an edit, and is not like [a] because it edits in a repeat of the same recording of verse 1, not a different one. It's reported but not confirmed that this "long version" stereo mix is on late copies of the single, Capitol A6282, and it's on the bootleg LP "Casualties" of 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 GEP 8920 (EP) Long Tall Sally 1964, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    US: Capitol 5255 single 1964, Capitol T 2018 Something New 1964.
    CD: EMI EP box set 1991.

  • [b] stereo 22 Jun 1964.
    US: Capitol ST 2018 Something New 1964, Capitol SKBO-11537 Rock and Roll Music 1976.
    UK: Parlophone PCSP 719 Rock and Roll Music 1976.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988.

Stereo [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 doubletracking error at what should be "now you got a boyfriend down the street" in verse 2. This is heard less distinctly in mono [a], as if the bad track were mixed down at that point, but it is there, marking it as the same vocal and not different as reported elsewhere. The bad vocal track seems to have "girlfriend" for "boyfriend"-- however, on the BBC radio version (11 months earlier than this EMI recording) John sings "now you don't care a dime for me", which is possibly what is here too.

I'LL BE BACK [outtakes]

basic recording- 1 Jun 1964
additional recording- none
master tape- 4 track

  • edit of takes 2 and 3

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    The Anthology 1 track contains breakdown take 2 to its apparent conclusion, where it is edited straight into talk at the start of the next take. The track break is at the start of the music of take 3.

  • take 3

    [a] mono 1994.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    Some ears detect a very slight processing of this track to mock stereo.

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 PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [b] mono 22 Jun 1964.
    US: Capitol T 2228 Beatles '65 1964.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2228 Beatles '65 1964.

US mono [b] runs slower than [a] and actually wobbles at a few points [b] also has a little echo while [a] has none. Capitol's stereo version has an unusually large amount of added echo even for them. Late in the LP era (black label) a new master was made for Capitol with a version sounding like the UK version.

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 R5160 single 1964, Parlophone PMC 1230 Hard Day's Night 1964.
    US: Capitol 5222 single 1964, Capitol T 2018 Something New 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987, EMI single 1989.

  • [b] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2108 Something New 1964.

WHEN I GET HOME

basic recording- 2 Jun 1964
additional recording- 4 Jun 1964
master tape- 4 track

  • [a] mono 22 Jun 1964.
    US: Capitol T 2018 Something New 1964.

  • [b] mono 22 Jun 1964.
    UK: Parlophone PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2108 Something New 1964.

US mono [a] has the piano mixed louder than UK mono [b], but the latter has a louder percussion crash at "whoa-ah". And they were mixed one right after the other.

The line "till I walk out that door" is doubletracked in US mono [a] while only "out that door" is in [b] and [c]. As heard on [a], one of the vocals starts "till I" before the other, and the single vocal track used in [b] [c] is the one that starts later. As a result, this variation has been reported elsewhere as an edit instead of a mix difference.

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 T 2018 Something New 1964.

  • [b] mono 22 Jun 1964.
    UK: Parlophone PMC 1230 Hard Day's Night 1964.
    CD: EMI CDP 7 46437 2 Hard Day's Night 1987.

  • [c] stereo 22 Jun 1964.
    UK: Parlophone PCS 3058 Hard Day's Night 1964.
    US: Capitol ST 2108 Something New 1964.

US mono [a] has the piano mixed way down compared to the others (it is not completely missing as some say), and the single drumbeat just before the chorus is either missing or way down so that we hear only what sounds like a thump on a guitar body... and these mixes were all done on the same day. The stereo separation in [c] shows the rhythm track fading up louder between vocal lines, as in stereo Can't buy me love, possibly leakage into the vocal microphones during live recording.

YOU'LL KNOW WHAT TO DO [outtake]

basic recording- 3 Jun 1964
additional recording- 3 Jun 1964
master tape- 4 track

  • [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

The title is given as shown above by the copyright papers, reported in Lewisohn's "Chronicle", but shown as You Know What to Do on the Anthology. This tape, believed lost, was found misfiled in 1993.

[ BBC radio, Top Gear of 16 Jul 1964 ]

basic recording- 14 Jul 1964 at Broadcasting House
additional recording- 16 Apr 1964
master tape- mono

  • segment, Things We Said Today

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfade at end. Live at the BBC uses this take, but gets it from a source tape of the BBC syndicated radio program, Top of the Pops, so it is heard with a voiceover from that show and not the original Top Gear. (And this is not to be confused with the TV show Top of the Pops.)

  • segment, Crinsk Dee Night (talk) / A Hard Day's Night / first part of Have a Banana! (talk)
    [a] mono 1994. edited.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    In Crinsk Dee Night, after "hands of the Beatles" a few unimportant lines are cut out to "in my younger days".

    A Hard Day's Night was broadcast with the instrumental break from the EMI recording (16 Apr 1964) cut crudely into it.

    Have a Banana! has an edit after "no point your being here, is there?" cutting away to an unidentified piece starting "critical lot of fellows". The first section of it would have continued into more talk including Paul and Ringo singing part of Don't Pass Me By.

  • segment, second part of Have a Banana! (talk)

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    This piece is probably from the same show, but its original location in the program is unknown.

BABY'S IN BLACK

basic recording- 11 Aug 1964
additional recording- none
master tape- 4 track

  • [a] mono 26 Oct 1964.
    UK: Parlophone PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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 PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 Beatles '65 1964.

Stereo [b] has the lead guitar mixed louder.

MR MOONLIGHT [outtake]

basic recording- 14 Aug 1964
additional recording- none
master tape- 4 track

  • edit of takes 1 and 4

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    The brief take 1 is edited straight into take 4 for the Anthology.

LEAVE MY KITTEN ALONE [outtake]

basic recording- 14 Aug 1964
additional recording- 14 Aug 1964
master tape- 4 track 2d generation

  • [a] mock stereo Jul 1984 at AIR Studios, Montserrat.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

This unreleased song was on the list for a proposed album in 1981, proposed for a Christmas single in 1982, included in the Abbey Road Studio show in 1983, and mixed for the unreleased Sessions album in 1984.

The mix is mock stereo made from 4 track! The treble end of the rhythm track, essentially the tambourine sound, was enhanced and is heard thrown rapidly between far left and far right, while the rest of that track, and all of the other three, are heard mixed into the center.

[ 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 EMTV 4 At the Hollywood Bowl 1977.
    US: Capitol SMAS-11638 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 PMC 1240 For Sale 1964.
    US: Capitol 5371 single 1965, Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2358 Beatles VI 1965.

Stereo [b] has a cry "woo" before the instrumental break, not in mono [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 PMC 1240 For Sale 1964.
    US: Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 27 Oct 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2358 Beatles VI 1965.

NO REPLY [outtakes]

basic recording- 30 Sep 1964
additional recording- none
master tape- 4 track

  • take 1

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    This is dated as 3 Jun 1964 on the Anthology, and in the notes Mark Lewisohn has to admit that it's hard to credit the drums on it if it was made without Ringo. I'm going to join some others with tentatively redating it to be take 1 of this day, based both on the drums' similarity to the drums in take 2 (after the opening verse), and to the laughter about singing errors on the line "see your face" heard in both takes. The differences in the arrangements and lyrics, an argument for different dates, seem no worse than for some other songs improved in the studio. And yet this has to marked as unsettled.

  • take 2

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    Processed to something like mock stereo, and yet quite subtly, and I don't feel comfortable calling it anything but mono.

NO REPLY

basic recording- 30 Sep 1964
additional recording- none
master tape- 4 track

  • [a] mono 16 Oct 1964.
    UK: Parlophone PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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". The stereo mix [b] also reveals a cough after "your window" near the beginning.

EIGHT DAYS A WEEK [outtakes]

basic recording- 6 Oct 1964
additional recording- none
master tape- 4 track

  • edit of excerpts from takes 2, 1, 4, and 5

    [a] mono 1995. edited.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

    These were edited together for a track called "false starts" on the Anthology. Based on Lewisohn's Recording Sessions, the first take heard here is take 2, the one that starts with a rising series of "oooh" with no guitar at first, and it fades out at 0:49. It is crossfaded with take 1, identified in Recording Sessions as having only guitar in the intro, running from 0:46 to 1:00, where it is edited to the next take so suddenly that it appears to be a breakdown, but, according to the book, it was not. Next is take 4, matching the book's description as having a steady "oooh" with guitar, from the hard edit at 1:00 to probably 1:21, when it again edits hard into a few seconds of preliminary talk of take 5. The song performance of take 5 is set off as the next Anthology track.

  • take 5

    [a] mono 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

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 PMC 1240 For Sale 1964.
    US: Capitol 5371 single 1965, Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 27 Oct 1964. edited.
    UK: Parlophone PCS 3062 For Sale 1964, Apple PCSP 717 The Beatles 1962-1966 1973.
    US: Capitol ST 2358 Beatles VI 1965, Apple SKBO-3403 The Beatles 1962-1966 1973.

  • [c] stereo 1993. edited.
    CD: EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

The intro and ending were edited in. The remix [c] sounds identical to the old stereo version [b] but was reportedly redone for CD.

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 single 1965, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
    CD: EMI single 1989.

  • [b] stereo 12 Oct 1964.
    Australia: Parlophone PCSO 7534 Greatest Hits 2 1967.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988.

  • [b1] stereo, untrimmed.
    UK: Parlophone SGE 1 (EP) 1981.
    CD: EP box set 1991.

  • [c] mono 21 Oct 1964.
    US: Capitol 5327 single 1964, Capitol T 2228 Beatles '65 1964.

  • [c1] mock stereo made from [c] 1964, by Capitol.
    US: Capitol ST 2228 Beatles '65 1964.

UK mono [a] and stereo [b] have a slightly longer fade, "she's a woman" 5 times, against 3 on US mono [c]. UK mono [a] has no echo on the vocal, while US mono [c] has echo on everything that was probably added by Capitol. US mono [c] also seems to have less piano than [a] but the echo may just be drowning it. The mock stereo conversion from it [c1] is muddy.

Stereo [b], also without the echo, seems to have gone missing in the vaults for a while after being copied for Australia in 1967, as it was not used for the Parlophone Rarities LP, but it was found for the CD release. [b1] "untrimmed" is the same mix with a countdown at the start, from a master reel.

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 PMC 1240 For Sale 1964.
    US: Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 26 Oct 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2358 Beatles VI 1965.

[a] fades a little earlier.

KANSAS CITY/HEY HEY HEY HEY [outtake]

basic recording- 18 Oct 1964
additional recording- none
master tape- 4 track

  • [a] stereo 1995.
    CD: Apple CDP 8 34445 2 Anthology 1 1995.

The only EMI cut in true stereo on Anthology volume 1, but with a catch: the rhythm track has been split a la mock stereo with the bass mixed left and the rest center. Compare to the stereo mix of the standard version.

MR MOONLIGHT

basic recording- 18 Oct 1964
additional recording- 18 Oct 1964
master tape- 4 track

  • [a] mono 27 Oct 1964.
    UK: Parlophone PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 27 Oct 1964.
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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 single 1965, Parlophone PMC 7016 Collection of Oldies 1966.
    CD: EMI single 1989.

  • [a1] mock stereo made from [a] 1964, by Odeon.
    Germany: Odeon SMO 83 991 (later 1C 062-04 207) Beatles Greatest 1965.

  • [b] mono 21 Oct 1964.
    US: Capitol 5327 single 1964, Capitol T 2228 Beatles '65 1964, Apple SKBO-3403 The Beatles 1962-1966 1973.

  • [b1] mock stereo made from [b] 1964, by Capitol.
    US: Capitol ST 2228 Beatles '65 1964.

  • [c] stereo 4 Nov 1964
    UK: Apple PCSP 717 The Beatles 1962-1966 1973.

  • [c1] stereo, trimmed.
    UK: Parlophone PCS 7016 Collection of Oldies 1966.
    US: Capitol SV-12245 20 Greatest Hits 1982.
    Australia: Parlophone PCSO 7534 Greatest Hits 2 1967.
    CD: EMI CDP 7 90043 2 Past Masters 1 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

German mock stereo [a1] actually fades a little longer than [a] and is the longest fade of any mix.

US mono [b] has an enormous reverb effect that may have been done by Capitol. The mock stereo made from it [b1] really stands out as the most distorted Beatles cut Capitol ever created.

Stereo [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.

All versions have Paul barking like a dog at the very end of the fade, which is a bit easier to hear in stereo.

I'LL FOLLOW THE SUN

basic recording- 18 Oct 1964
additional recording- none
master tape- 4 track

  • [a] mono 21 Oct 1964
    UK: Parlophone PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 Beatles '65 1964.

The stereo mix [b] has more reverb than the mono.

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 PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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 PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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 PMC 1240 For Sale 1964.
    US: Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2358 Beatles VI 1965.

Mono [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 PMC 1240 For Sale 1964.
    US: Capitol T 2228 Beatles '65 1964.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2228 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 PMC 1240 For Sale 1964.
    US: Capitol T 2358 Beatles VI 1965.
    CD: EMI CDP 7 46438 2 For Sale 1987.

  • [b] stereo 4 Nov 1964
    UK: Parlophone PCS 3062 For Sale 1964.
    US: Capitol ST 2358 Beatles VI 1965.

[b] has a handclap in the intro missing in [a], and the drum and rhythm track is mixed softer.

[ BBC radio, Top Gear of 26 Nov 1964 ]

basic recording- 17 Nov 1964 at Playhouse Theatre
additional recording- none
master tape- mono

  • segment, I'm a Loser

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

  • segment, Riding on a Bus(talk)

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Crossfaded at start.

  • segment, She's a Woman

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    This is of poorer sound quality than the others from this show.

  • segment, Everybody's Trying to Be My Baby

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

    Live at the BBC uses this take of Everybody's Trying to Be My Baby, but get it from a source tape of the BBC radio Saturday Club of 26 Dec 1964, where it was played for a second time. The notes do not give the correct recording date.

  • segment, I'll Follow the Sun

    [a] mono 1994.
    CD: EMI C2 8 58349 2 Baby It's You 1995.

  • segment, I Feel Fine

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

[ BBC radio, Saturday Club of 26 Dec 1964 ]

basic recording- 25 Nov 1964 at Aeolian Hall
additional recording- none
master tape- mono

  • segment, Rock and Roll Music

    [a] mono 1994.
    CD: EMI CDP 8 31796 2 Live at the BBC 1994.

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