The Usenet Guide to Beatles Recording Variations

1966

compiled by Joseph Brennan

TOMORROW NEVER KNOWS [outtake]

basic recording- 6 Apr 1966
additional recording- 6 Apr 1966
master tape- 4 track

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

Presented at relatively low volume on Anthology 2: crank it up to hear why Lewisohn called it "heavy metal", or wonder how it was mixed for him.

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 PMC 7009 Revolver 1966, matrix XEX 606-1.
[b] mono 6 Jun 1966.
UK: Parlophone PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[c] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] is extremely rare, and is believed to have been manufactured on only the first day of UK pressing. Most copies have matrix 606-2 or 606-3 on side B, and are the standard version heard on all copies of other countries' pressings. [a] is mono remix 11 while the standard version is remix 8. In the rare [a], the vocal is louder and clearer over the effects, the fade is slightly longer and has more piano, and the effects are faded up quite differently (whereas [b] and [c] are pretty similar).

The similarity in the tape loop effects in [b] and [c] suggest that they were recorded into one of the 4 tracks of the master. The general trend is that in mono the transition is faster, so sound comes up to full volume almost suddenly and then goes completely out. Mono [b] starts with the loop track at full volume while stereo [c] fades in on it. The guitar sound in the break sounds more processed and full in mono [b]. At the start of the second vocal section stereo has a feedback whistle in "love is all and love is everyone" while [b] does not.

GOT TO GET YOU INTO MY LIFE [outtake]

basic recording- 7 Apr 1966
additional recording- none
master tape- 4 track

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

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] has a noticeably longer fade (8 seconds) that helps, and louder bass and percussion. The brass sound on mono [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 in stereo [b]. [a] and [b] have different vocals at the fade, the line "every single day of my life", which may be the use of different vocal tracks of the doubletracking.

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 21 Jun 1966. edited.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

Mono [a] has a much longer fade, by 13 seconds. The edit is of mixes with and without ADT, details not given in Lewisohn-- 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 single 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5651 single 1966.
CD: EMI single 1989.
[b] stereo 31 Oct 1966.
UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973.
CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.
[c] stereo 31 Oct 1966.
US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1962-1966 1973.

The mono mix [a] is more powerful, with louder drums and a compressed dynamic range. Ringo's drum tapping during the a capella "paperback writer" can be heard a little in mono [a], fading up a few taps before the guitars come back in. The backup vocal track is unusually "dirty", and in stereo [b] [c] unintended sound can be heard at a few points-- particularly, before the last "paperback writer" (about 1:45), a hrrmph and then very quiet tries at the right note (earlier in the song, a miscue starting the second group of "Frere Jacques" is noticeable even in mono). Mono [a] has more echo, notably a long "write write write" after the last verse. Lastly, the mono mix fades later, after the 6th "paperback writer" instead of near the start of the 5th one.

[b] and [c] are probably two of three stereo mixes made the same day. The obvious difference is that left-right is reversed, and the only other difference noted is that [c] has the backing vocals a little louder. It could be they are the same mix with both stereo reversal and a slight change in balance that makes the side with the backup vocals louder.

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 single 1966, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.
US: Capitol 5651 single 1966.
CD: EMI single 1989.
[b] stereo 2 Dec 1969.
US: Apple SW-385 Hey Jude 1970.
CD: EMI CDP 7 90044 2 Past Masters 2 1988.

The master tape has backwards vocals at the end, overdubbed from another take -- the backwards line has "when the rain comes", but this take, forwards, 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 T 2553 Yesterday & Today 1966.
[a1] mock stereo made from [a] 1966, by Capitol.
US: Capitol ST 2553 Yesterday & Today 1966 first issue.
[b] stereo 20 May 1966. edited.
UK: Parlophone PCS 7009 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.
[c] stereo 20 May 1966. edited.
US: Capitol ST 2553 Yesterday & Today some later issues, c.1973.
[d] mono 21 Jun 1966. edited.
UK: Parlophone PMC 7009 Revolver 1966.

The editing removed 43 seconds of the song in all four cases.

At the very end of the fade, US mono [a] seems to reach the true end of the song, and then has John (?) saying "OK Herb" (?), which is not even on the mock stereo made from it [a1]. The "well well well" parts are also mixed differently here than on the other mixes.

The UK mono [d] seems to have the vocal mixed louder than [a], but perhaps it is better to say the guitar backing is quieter during the verses, while the vocal and rhtyhm section is more powerful.

The "some later issues" of Yesterday & Today that have the US stereo mix are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT-2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue. The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs.

AND YOUR BIRD CAN SING [outtake]

basic recording- 20 Apr 1966
additional recording- 20 Apr 1966
master tape- 4 track

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

This shows an unusable vocal overdub onto an alternate take.

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.
UK: Parlophone PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 21 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.
[c] stereo 1995.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

Two sections were added later: the slow countdown intro, and the repeat of the same guitar solo at the ending. While Lewisohn calls them edits, they seem to be overdubs from a second tape deck instead, since both overlap original sound-- a faster, quieter countdown, and the last word of the lyric. This is similar to the backward vocal overdubs on Rain.

The mono mix [a] is more powerful, with all the instrumental tracks louder. The cowbell, which is not loud in either mix, starts after "5 per cent appear too small" in mono [a] and later, at "I'm the taxman" in the second refrain, in stereo [b]. The guitar is a little louder in the countdown intro in [a].

The Anthology 2 mix [c] is deliberately different. It has the intro edited on (done June 21 on the original mixes), but otherwise shows the state as of April 21, without the cowbell and with a different backing vocal at the "Mr Wilson" and "Mr Heath" lines, with some guitar in the first verse mixed out elsewhere, and with the real ending. The real countdown intro is more easily heard since it and the main instrumental tracks are mixed to the left.

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 T 2553 Yesterday & Today 1966.
[a1] mock stereo made from [a] 1966, by Capitol.
US: Capitol ST 2553 Yesterday & Today 1966 first issue, some later issues.
[b] stereo 20 May 1966. edited.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2553 Yesterday & Today some later issues, c.1973.
CD: EMI CDP 7 46441 2 Revolver 1987.
[c] mono 6,8 Jun 1966. edited.
UK: Parlophone PMC 7009 Revolver 1966.

The editing adds the instrumental ending from a different take. Of the mono mixes, [a] has louder handclaps than [c], and the guitars seem to drop a little more in volume during the verses in [c].

The "some later issues" of Yesterday & Today that have stereo are (1) all tape format copies since 1966 [reel-to-reel YT-2553, eight-track 8X2T-2648 and later 8XT-2553, cassette 4XT-2553, and even the four-track 4CL-2553!], (2) Capitol record club LP copies beginning in 1968, (3) many general release LPs pressed at the Winchester plant [indicated by -<| the sideways wine glass] since 1973, the date I use for the LP reissue. The use of old LP stampers with fake stereo, however, continued as late as 1988, the end of LPs.

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 T 2553 Yesterday & Today 1966.
[a1] mock stereo made from [a] 1966, by Capitol.
US: Capitol ST 2553 Yesterday & Today 1966 first issue.
[b] stereo 20 May 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol SHAL-12060 Rarities 1980.
CD: EMI CDP 7 46441 2 Revolver 1987.
[c] stereo 20 May 1966.
US: Capitol ST 2553 Yesterday & Today some later issues, c.1973.
[d] mono 6 Jun 1966.
UK: Parlophone PMC 7009 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"
verse 3:
[a] BG on "time" and "ceiling"
[b][c] no BG
[d] BG on "staring at the ceiling"
solo:
[a] guitar continues into words "please don't" at end of solo
[b][d] guitar ends at end of solo
[c] guitar fades in 2 bars later, continues into "please"
verse 4:
no BG on any mix
end:
[a] guitar starts 4 beats after the last word "sleeping"
[b][c][d] guitar starts immediately after last word "sleeping"

I'M ONLY SLEEPING [outtakes]

basic recording- 29 Apr 1966
additional recording- none
master tape- 4 track

rehearsal
[a] mono 29 Apr 1966.
CD: Apple CDP 8 34448 2 Anthology 2 1996.
second take 1
[a] mono 29 Apr 1966.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

The sessions for this song overlap the next song. These two outtakes are for a fresh start. They were supposedly mixed to mono during recording.

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 single 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966.
US: Capitol 5715 single 1966, T2576 Revolver 1966.
CD: EMI single 1989.
[b] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973.
US: Capitol ST 2576 Revolver 1966, Apple SKBO-3403 The Beatles 1962-1966 1973.
CD: EMI CDP 7 46441 2 Revolver 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.
[c] stereo 1995.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

The ADT in stereo [b] continues into "Elean" in 1st verse, a really glaring mistake. The lead vocal, perhaps too prominent in both [a] and [b], sounds stronger in mono [a].

The Anthology mix [c] omits the vocals, and remixes the string tracks.

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 21 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

The vocal comes across louder in mono [a].

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 single 1966, Parlophone PMC 7009 Revolver 1966, Parlophone PMC 7016 Collection of Oldies 1966.
US: Capitol 5715 single 1966, Capitol T 2576 Revolver 1966.
CD: EMI single 1989.
[b] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCS 7070 Yellow Submarine 1969, Apple PCSP 717 The Beatles 1962-1966 1973.
US: Capitol ST 2576 Revolver 1966, Apple SW 153 Yellow Submarine 1969, Apple SKBO-3403 The Beatles 1962-1966 1973.
CD: EMI CDP 7 46441 2 Revolver 1987, EMI CDP 7 46445 2 Yellow Submarine 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.
[b1] mono made from [b] 1968.
UK: Apple PMC 7070 Yellow Submarine 1969.
[c] stereo 1995.
CD: Apple C2 8 58544 Real Love 1996.

The guitar comes in right away in mono [a] but after "in the town" in stereo [b]. At the start of verse 3, a splash sound effect is faded away quickly in mono [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 mono [a] but not until the next line ("all we need") in [b]. The last line of verse 3 sounds like "in our yellow clubmarine" in mono [a] but "slubmarine" in [b]. The official lyric is just "submarine".

[c] is deliberately different, and starts by fading into an intro not used elsewhere before a hard edit to the standard version. The first guitar strum is missing as in [b]. The mix inverts [b] by having the vocal and rhythm tracks centered, and the sound effects, including some not heard elsewhere, to the left and right and relatively louder. John's "life of ease" is heard in verse 3, and Ringo says "slubmarine".

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 21 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

The piano comes through more noticeably in mono.

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

The bass drum is missing at the very end in stereo [b].

HERE, THERE AND EVERYWHERE [outtake]

basic recording- 16 Jun 1966
additional recording- 16 Jun 1966
master tape- 4 track

[a] stereo 1995. edited.
CD: Apple C2 8 58544 Real Love 1996.

An earlier take, in mono, but near the end tracks of the standard take are added in stereo to provide backing vocals and (unavoidably) some percussion.

HERE, THERE AND EVERYWHERE

basic recording- 16 Jun 1966
additional recording- 16,17 Jun 1966
master tape- 4 track 2d generation

[a] stereo 21 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.
[b] mono 21 June 1966.
UK: Parlophone PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.

In the last line the lead voice is "You'll be there, and everywhere". In mono [b] the backing voice is heard to sing "I'll be there" instead, not audible in [a] but possibly there very softly. The vocal backing is missing in mono [b] on the last chord.

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 PMC 7009 Revolver 1966.
US: Capitol T 2576 Revolver 1966.
[b] stereo 22 Jun 1966.
UK: Parlophone PCS 7009 Revolver 1966.
US: Capitol ST 2576 Revolver 1966.
CD: EMI CDP 7 46441 2 Revolver 1987.

The mono mix [a] seems more powerful, although the rhythm track can be heard fading down during vocal lines and back up in between.

[ Nippon Budokan Hall concert ]

basic recording- 30 Jun 1966 at Nippon Budokan Hall, Tokyo
additional recording- none
master tape- mono

[a] mono 30 Jun 1966.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

From a videotape made by NTV of Japan. Both video and audio of this have long been available on bootleg.

Segments used contain: Rock and Roll Music, She's a Woman.

STRAWBERRY FIELDS FOREVER [demos]

basic recording- Nov 1966
additional recording- none
master tape- mono

[a] mono Nov 1966. edited.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

Two home demos.

STRAWBERRY FIELDS FOREVER [outtake]

basic recording- 24 Nov 1966
additional recording- 24 Nov 1966
master tape- 4 track

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

Take 1. Backing vocals in verse 3, heard in bootlegs, were mixed out for Anthology 2.

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 2d and 3d generation

[a] mono 22 Dec 1966. edited.
UK: Parlophone R5570 single 1967.
US: Capitol 5810 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
CD: EMI single 1989.
[b] stereo 29 Dec 1966. edited.
US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
UK: Apple PCSP 718 1967-1970 1973.
[c] stereo 26 Oct 1971 at AIR. edited.
Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971.
CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.
[d] mono 29 Nov 1966 and 1995. edited.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

This song is made out of two recordings mixed separately and edited together.

The first portion is from take 7 of 29 Nov, a 2d generation 4-track tape containing a reduction from take 6 plus overdubs. For the standard versions [a][b][c], an edit at the silence at 0:55 jumps from the end of verse 1 to a later portion of take 7 containing the line "Let me take you down, 'cause I'm". Then, right in mid-phrase at 1:00, it edits into take 26 of 15 Dec for "going to, Strawberry Fields" and on to the end of the song. The Anthology [d] uses an original mono mix of take 7 without the edits and continuing to near the end, where it was crossfaded in 1995 into sound from takes 15 and 24 of 8 Dec. (Take 7 is available in stereo and complete on bootlegs.)

The second portion of the standard versions [a][b][c] is from take 26, basically a 2d generation 4-track tape containing a reduction of take 25 plus overdubs, although it also contains drum and percussion tracks recorded as takes 15 and 24. Take 26 was recorded at a faster tempo than in the final mix, and was slowed down during preparation of the combined recording. There may be a slight slide in tape speed right around the join, too. For the Anthology [d], takes 25 and 26 are not used but some of the same percussion from takes 15 and 24 is heard by itself.

The infamous spoken "cranberry sauce", actually said twice, is in the percussion track dating from take 24, and both are easily heard in the new mix [d] made for Anthology. The second one is almost cut off at the end of the fade in mono [a], but on the German single (Odeon O 23 436) just a syllable of it can be heard that is missing from known US and UK pressings. Stereo mix [c] had been the only place to hear the second one in full, since [b] cuts off just before it.

The newer stereo mix [c] was once known as the German stereo mix and is now the standard CD stereo mix. It has better percussion sound than the older stereo mix [b] and more stereo separation. The older mix [b] has a nice effect at the edit, quickly moving the cello and trumpet track across the image from left to right, where it stays, distracting the listener from the edit itself; in the newer mix [c] this track just starts suddenly on the right. The swordmandel at the start of both verse 2 and 3, which sounds like a harp, moves from left to right in the newer mix [c], while it's just centered in the older one [b]. John counts down the rest before the start of verse 2 and 3, properly mixed out in the older mix [b] but heard in the newer one [c]. The fadeout-fadein near the end goes to a moment of silence in the newer stereo mix [c], but comes back immediately in the others. The newer stereo mix [c] has a slightly longer final fade so we hear a second "cranberry sauce" in the drum track, left. The differences in the two stereo mixes helps in working out what is on the 4 tracks although there are still some questions.

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 PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 3653 Sgt Pepper 1967.
[b] stereo 17 Apr 1967.
UK: Parlophone PCS 7026 Sgt Pepper 1967.
US: Capitol SMAS 3653 Sgt Pepper 1967.
CD: EMI CDP 7 46442 2 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 single 1967 promo copies only.
[b] mono 25 Jan 1967.
UK: Parlophone R5570 single 1967.
US: Capitol 5810 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
CD: EMI single 1989.
[b1] mock stereo made from [b] 1967, by Capitol.
US: Capitol SMAL 2835 Magical Mystery Tour 1967
[b2] mock stereo made from [b] about 1972, by Capitol.
US: Apple SKBO-3404 The Beatles 1967-1970 1973.
[c] stereo 30 Sep 1971 at AIR.
Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971.
Australia: Apple TVSS 8 Essential Beatles 1972.
UK: Apple PCSP 718 1967-1970 1973, Parlophone TC-PCS 3077 (cassette) Magical Mystery Tour 1976.
US: Capitol SV-12245 20 Greatest Hits 1982.
CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.
[c1] stereo from [c] and [a] 1980, by Capitol.
US: Capitol SHAL12060 Rarities 1980.
[d] stereo 1995. edited.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

The vocal and main instrumental material seem to have been mixed down to mono by the time the fourth generation (!) tape was created, so variations are limited to the various horns and other effects (bells, bowed bass) on the other tracks of the master... that is, until the Anthology.

The first mix [a], used on the US promo single, has an extra trumpet at the end, deliberately mixed out in later mixes [b] [c]. The stereo mix [c] has a 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 beginning fades up in mono [b], but in stereo [c] [d] it starts suddenly on a couple of bass notes lost in [b]. All mixes seem to lose the first word of the vocal ("In Penny Lane...") or perhaps it is not there.

Mock [b2] may also be on later issues of Capitol SMAL 2835, and the later UK release of the Magical Mystery Tour LP. It has less extreme bass-treble separation.

The Brazilian LP Beatles For Ever (Apple 31C 066-04 972) has the phrase "in summer" cut out, for reasons unknown.

For the Anthology [d], all the original tracks from 4 generations were synchronized on one multi-track and then remixed with deliberate differences. Paul's vocal is single tracked, different horn parts are heard, and then from about 2:52 on we have several edits that do not reflect the original recording, and at the end is an out-of-place recording of speech about a "suitable ending".

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