Related sessions
This album has been recorded during the following studio sessions
Feb 16, 1965
Feb 18, 1965
Feb 20, 1965
Jun 14, 1965
Jun 15, 1965
Oct 12, 1965
Oct 24, 1965
Nov 04, 1965
Recording "Tomorrow Never Knows"
Apr 06, 1966
Recording "And Your Bird Can Sing", "Taxman"
Apr 20, 1966
Apr 21, 1966
Apr 28, 1966
Recording "Eleanor Rigby", "I'm Only Sleeping"
Apr 29, 1966
Recording "Strawberry Fields Forever" #1
Nov 24, 1966
Recording "Strawberry Fields Forever" #3
Nov 29, 1966
Recording "Strawberry Fields Forever" #5
Dec 09, 1966
Recording "A Day In The Life" #1
Jan 19, 1967
Recording "A Day In The Life" #2
Jan 20, 1967
Recording "Good Morning Good Morning"
Feb 08, 1967
Recording "A Day In The Life" #4
Feb 10, 1967
Recording and mixing "Only A Northern Song"
Feb 14, 1967
Recording and mixing "Good morning good morning"
Feb 16, 1967
Recording "Being For The Benefit of Mr. Kite!"
Feb 17, 1967
Sep 05, 1967
Recording and mixing "The Fool On The Hill"
Sep 25, 1967
Oct 19, 1967
Feb 03, 1968
Recording "Across The Universe"
Feb 04, 1968
Recording "Real Love", "All For Love"
May 15-16, 1995
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Track list
Disc 1
1.
Written by John Lennon
3:54 • Studio version • A2016
- Paul McCartney :
- Acoustic guitar, Backing vocals, Bass, Double bass, Percussion, Producer, Synthesiser
- Ringo Starr :
- Backing vocals, Drums, Percussion, Producer
- John Lennon :
- Drum machine, Piano, Producer, Vocals
- Jeff Lynne :
- Backing vocals, Guitar, Producer
- George Harrison :
- Acoustic guitar, Backing vocals, Electric guitar, Percussion, Producer
- Geoff Emerick :
- Recording engineer
- Jon Jacobs :
- Recording engineer
- Recording :
- Circa 1979
- Studio :
- New-York
- Session Recording:
- February 1995
- Studio :
- Hog Hill Studio, Rye, UK
2.
1:50 • Outtake • C2016 • Take 2. Because the take broke down it is completed here with a section (in newly remixed and edited form) from the master, Take 14, distinguished by George's tone-pedal guitar sounds and some fine three-part vocal harmony by John, Paul and George, emphasising how well the recording blossomed - and how quickly too: the Beatles recorded Yes It Is form start to finish inside five hours.
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Feb 16, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
3.
2:54 • Outtake • C2016 • Issued here for the first time is Take 1, played live in the studio and, as Paul had wished turning out "pretty darn good". Listen closely at the end for Paul's comment "Plastic soul man, plastic soul", a phrase which, when slightly altered, became the title of the Beatles' sixth album, issued in December 1965.
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Jun 14, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
4.
You've Got to Hide Your Love Away
2:45 • Outtake • D2016 • Take 5. This is prefaced by some studio banter: John's "1, 2, 3, 1, 2, 3, hold on, hold on" count-in that is all there was of Take 1, and some "shattering" talk that preceded Take 2
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Feb 18, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
5.
2:48 • Outtake • A2016 • Take 1
- Paul McCartney :
- Bass
- Ringo Starr :
- Drums, Vocals
- John Lennon :
- Rhythm guitar
- George Harrison :
- Lead guitar
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Feb 18, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
6.
2:27 • Outtake • B2016 • Take 1
- Paul McCartney :
- Bass, Piano, Vocals
- Ringo Starr :
- Drums
- John Lennon :
- Backing vocals, Maracas, Rhythm guitar
- George Harrison :
- Backing vocals, Lead guitar, Maracas
- Session Recording:
- Feb 20, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
7.
2:34 • Outtake • E2016 • Issued here for the first time is the only alternate studio recording of the song, Take 1, performed solo by Paul, voice and acoustic guitar.
- Session Recording:
- Jun 14, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
8.
1:59 • Outtake • D2016 • Take 2, preceded by the false start that was Take 3
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Jun 15, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
9.
Blackpool Night Out show
Four songs taken from the six performed by the Beatles on the British television show Blackpool Night Out, broadcast live to the nation on summer Sunday evenings from the northern seaside resort. It was the group's second and last appearance on the programme. The sequence comprises I Feel Fine, the A-side of the single that had held the number one spot at Christmas 1964, Ticket To Ride, number one at Easter 1965, the first stage performance of Yesterday, already beginning to attract attention beyond its unheralded placement as the thirteenth track of the Beatles' latest album, and the first stage performance of Help! - the title of that new album, the Beatles' new film and new 45.
1.
2:16 • Live • L2.2016
Concert From "Blackpool Night Out" in Blackpool, United Kingdom on Aug 01, 1965
2.
2:45 • Live • L3.2016
Concert From "Blackpool Night Out" in Blackpool, United Kingdom on Aug 01, 1965
3.
2:43 • Live • L3.2016
Concert From "Blackpool Night Out" in Blackpool, United Kingdom on Aug 01, 1965
4.
2:55 • Live • L3.2016
Concert From "Blackpool Night Out" in Blackpool, United Kingdom on Aug 01, 1965
10.
Everybody's Trying to Be My Baby
Written by Carl Perkins
2:45 • Live • L2.2016
Concert From the concert in New York City, USA on Aug 15, 1965
11.
Norwegian Wood (The Bird Has Flown)
1:59 • Outtake • E2016 • Take 1, an earlier model issued here for the first time, was recorded during the first day of sessions for the new album. Like the eventual master, it includes a sitar contribution by George Harrison (the first time this Indian instrument was heard in a "pop" song) and also a lead and occasionally double-tracked vocal by John, harmonies from Paul and John, acoustic guitar, finger cymbals, maracas and bass guitar. The recording was marked "best" on the tape box and studio log-sheet so, clearly, the Beatles thought that they had made a master, and indeed it remained the preferred take for nine days, until they cut a remake
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Oct 12, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
12.
2:54 • Outtake • D2016 • First master version. The Beatles spent nine hours on 24 October working on I'm Looking Through You, perfecting a rhythm track and then overdubbing lead and harmony vocals on to this new Paul McCartney composition. For two weeks the result was considered to be the master, until a remake was started on 6 November (and another one followed on the 10th) that added the two "Why, tell me why" choruses and caused the fine first version to remain unissued.
- George Martin :
- Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Oct 24, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
13.
3:15 • Outtake • D2016 • Mark I, take 1. 2016 remaster
- Paul McCartney :
- Bass
- Ringo Starr :
- Drums
- John Lennon :
- Organ, Vocals
- George Harrison :
- Guitar
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 06, 1966
- Studio :
- EMI Studios, Studio Three, Abbey Road
14.
2:54 • Outtake • D2016 • 2016 remaster. Take 5. The arrangement of Paul's Got To Get You Into My Life altered significantly from first studio outing to last, the released version (Take 9) being layered with vocals and brass in addition to the group's own rhythm tracks. When the song was first aired in the studio, on 7 April, the Beatles recorded Takes 1 to 5, marking the last of these "best" (temporarily, as it turned out) and overdubbing vocals for the first time. The result is a piece of work scarcely comparable to the released version, with its different musical structure and some alternative lyrics. By the end of this session two of the tracks on the four-track tape had been filled, and doubtless the vacant ones would also have been completed had the Beatles decided to press on. Instead, returning to Abbey Road the next day, they shelved Take 5 and moved on the song in a different direction.
- Paul McCartney :
- Acoustic guitar, Lead vocals
- Ringo Starr :
- Drums
- John Lennon :
- Backing vocals, Tambourine
- George Harrison :
- Backing vocals, Tambourine
- George Martin :
- Organ, Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 07, 1966
- Studio :
- EMI Studios, Studio Three, Abbey Road
15.
2:13 • Outtake • D2016 • Take 2 - John's composition And Your Bird Can Sing appeared on Revolver in remake form, Take 10 form 26 April. Six days earlier, in two takes, the Beatles recorded a different arrangement of the number, the overdubbing of several vocal tracks on to Take 2 indicating that, for a few days at least, they considered that it had the makings of a master. This recording is released here for the first time, counted-in by John. And someone or something - the tape does not reveal what - was causing them to giggle...
- Paul McCartney :
- Backing vocals, Bass, Electric guitar (?)
- Ringo Starr :
- Drums, Tambourine
- John Lennon :
- Backing vocals, Electric guitar (?), Lead vocals
- George Harrison :
- Electric guitar
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 20, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
16.
Written by George Harrison
2:32 • Outtake • C2016 • Take 11. Issued here for the first time is that Take 11, not dissimilar to the master but with some notable differences, principally in the clean, full ending (instead of the repeated guitar solo) and the "anybody got a bit of money?" backing vocals (instead of the "Mister Wilson, Mister Heath" reference).
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 21, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
17.
2:06 • Outtake • D2016 • Eleanor Rigby presented in a manner never before heard, featuring only the double string quartet - four violinists, two viola players and two cellists - in isolation, performing the score written and conducted for Paul's song by George Martin. This is Take 14 (later "reduced" into Take 15 and on to which lead and backing vocals were overdubbed to create the master) remixed anew in 1995 using the fine reverberative acoustics of Abbey Road's Studio One.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Tony Gilbert :
- Violin
- Sidney Sax :
- Violin
- John Sharpe :
- Violin
- Jürgen Hess :
- Violin
- Stephen Shingles :
- Viola
- John Underwood :
- Viola
- Derek Simpson :
- Cello
- Norman Jones :
- Cello
- Session Recording:
- Apr 28, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
18.
0:41 • Rehearsal • D2016 • A brief instrumental rehearsal - distinguished, unusually, by a vibraphone part being played along with the acoustic guitar and drums. This recording nearly didn't survive: the session tape was spooled back after the Beatles had finished rehearsing and five proper, numbered takes were recorded anew form the top, wiping over the earlier sounds. The last of these stopped just short of where the rehearsals had concluded, leaving the final minute intact.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 29, 1966
- Studio :
- EMI Studios, Studio Three, Abbey Road
19.
2:59 • Outtake • E2016 • Take 1. The other version presented here (in mono, because it was taped that way) is the first of these proper, numbered takes - recorded, curiously, two days after the Beatles had already cut takes 1 to 11, the last of which led to the Revolver master. None of these five further takes (acoustic guitar, simple percussion and joint John and Paul vocals) was used.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 29, 1966
- Studio :
- EMI Studios, Studio Three, Abbey Road
20.
Written by Chuck Berry
1:39 • Live • L2.2016
Concert From the concert in Tokyo, Japan on Jun 30, 1966
21.
2:55 • Live • L3.2016
Concert From the concert in Tokyo, Japan on Jun 30, 1966
22.
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
2:54 • Outtake • B2016 • Stereo • Part of take 2
- Paul McCartney :
- Bass
- Ringo Starr :
- Drums
- John Lennon :
- Lead guitar
- George Harrison :
- Lead guitar
- George Martin :
- Harmonium, Producer
- Norman Smith :
- Recording engineer
- Session Recording:
- Nov 04, 1965
- Studio :
- EMI Studios, Studio Two, Abbey Road
Disc 2
1.
Strawberry Fields Forever
1:42 • Demo • 2016 • This is John Lennon, alone in his music room at home in Weybridge, recording demonstration versions of his latest composition. The date would be circa the Ides of November 1966: John wrote Strawberry Fields Forever (evoking memories of his childhood Liverpool) while on location in Almeria, Spain, during the shooting of the motion picture How I Won The War, and taped these demos after his return on the 7th but before the Beatles convened for recording at EMI on the 24th.
- Recording :
- November 1966
- Studio :
- 'Kenwood', Weybridge, Surrey
2.
2:35 • Outtake • D2016 • Take 1. [...] the final master was not completed almost a month after this initial session. As it took shape on 24 November, with an alternative lyric order and arrangement, this recording was considerably different from that master.
- Paul McCartney :
- Mellotron
- Ringo Starr :
- Drums
- John Lennon :
- Acoustic guitar, Vocals
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Nov 24, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
3.
4:14 • Outtake • E2016 • Take 7 and edit piece. Just five days after that initial take of Strawberry Fields Forever the song's arrangement was undergoing dramatic change. The master was a composite of two separate recordings - the first minute came from Take 7 the remainder from Take 26. Presented here, issued for the first time, is the full Take 7, going beyond those first 60 seconds (indeed, including within that first minute a 23-second verse that was later excised). The sound is mono because the recording presented here is an original mono mix - labelled RM3 - made, like Take 7, on 29 November 1966. The conclusion of the original master (embracing Take 26) included sections flown in from a combination of edit piece taped on 9 December featuring backwards cymbals, a "wild drum track" played by Ringo and some extemporal vocalising by John. A much longer section of this edit piece is released here, again for the first time, crossfaded on to the end of RM3. At the conclusion one can hear John twice mutter "cranberry sauce", a phrase which, less clearly audible right at the end of the master mix, has long puzzled listeners.
- Paul McCartney :
- Bass, Electric guitar, Mellotron, Timpani
- Ringo Starr :
- Drums
- John Lennon :
- Finger cymbals, Gourd, Guitar, Lead vocals, Maracas, Mellotron, Tambourine
- George Harrison :
- Bongos, Maracas, Mellotron, Swarmandal
- George Martin :
- Mellotron, Producer
- Geoff Emerick :
- Recording engineer
- Mal Evans :
- Finger cymbals, Gourd, Maracas, Tambourine
- Neil Aspinall :
- Finger cymbals, Gourd, Maracas, Tambourine
- Terry Doran :
- Maracas
- Session Recording:
- Nov 29, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Dec 09, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
4.
3:01 • Studio version • D2016 • Stereo • 2016 remaster. The version presented here is a unique combination of the many different takes and sounds that comprised that original master, broken down - in some cases instrument by instrument - and remixed anew from a 24-track tape. In this way one can hear a certain parts quite differently: Paul's vocal is only single-tracked, the bridge section highlights the overdubs of cor anglais and trumpets effected on 12 January, and the piccolo trumpet overdub featured near to the conclusion of the master is heard here in extended form. And then there is "a suitable ending"...
- Paul McCartney :
- Bass, Handclaps, Harmonium, Pianos, Vocals
- Ringo Starr :
- Drums, Tambourine, Tubular bells
- John Lennon :
- Backing vocals, Congas, Guitar, Handclaps, Piano
- George Harrison :
- Backing vocals, Electric guitar, Handclaps
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- David Mason :
- Piccolo trumpet
- Ray Swinfield :
- Flute
- P Goody :
- Flute
- Manny Winters :
- Flute
- Dennis Walton :
- Flute
- Leon Calvert :
- Trumpet
- Freddy Clayton :
- Trumpet
- Bert Courtley :
- Trumpets
- Duncan Campbell :
- Trumpets
- Dick Morgan :
- Cor anglais, Oboes
- Mike Winfield :
- Cor anglais, Oboes
- Frank Clarke :
- Double bass
- Unknown musician(s) :
- Flugelhorn, Two piccolos
- Session Recording:
- Dec 29, 1966
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Overdubs:
- Dec 30, 1966 and Jan 4, 5, 6, 9, 10, 12, 17, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
5.
5:05 • Outtake • C2016 • Takes 1, 2 and take 6 overdub. Assembled expressly for the Anthology, this composite embraces the best of the unreleased outtakes of A Day In The Life, plotting the making of the song that brought such a monumental close to the album Sgt. Pepper's Lonely Hearts Club Band. The opening talk, the sounding of the alarm clock (used so effectively in the finished master) and the intro - John muttering "sugar plum fairy, sugar plum fairy"instead of the more conventional count-in - is from the start of Take 1, when the song was first taped on 19 January 1967. The main body of the music is Take 2, recorded during the same session. At this point the tape features John's acoustic guitar and haunting live lead vocal, sundry percussion instruments, piano (played by Paul) and an echo-drenched Mal Evans, one of the Beatles' two assistants, counting out the first of two long gaps that would later be so famously filled with the orchestral crescendos. After the counting, the track slips into mono to illustrate a guide vocal from Paul, taped on 20 January as an overdub on to Take 6 but then superseded by a better recording of the passage on 3 February. The original survives, however, thanks to a mono mix done in the interim, on 30 January. Take 2 then returns, leading into a new mix of the orchestral crescendos recorded on 10 January, but instead of the familiar final piano chord the track ends with Paul talking about the orchestral overdub, a short extract from one of four tapes of ambient studio sounds recorded at the same session.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Jan 19, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Jan 20, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Feb 10, 1967
- Studio :
- EMI Studios, Studio One, Abbey Road
6.
2:40 • Outtake • C2016 • As issued on Sgt. Pepper, the master of Good Morning Good Morning was Take 11, laden with overdubs by way of a succession of "reductions" deriving in Take 8. For almost a month, though, from 16 February to 13 March, that original Take 8 remained untouched, and, because it was complete and included an overdubbed John Lennon lead vocal, it is reasonable to assure that, for much of that time, it was considered to be the master. This is that Take 8, the basic track from 8 February with John's vocal added on the 16th.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Feb 08, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Feb 16, 1967
- Studio :
- EMI Studios, Studio Three, Abbey Road
7.
Written by George Harrison
2:44 • Outtake • B2016 • The mix presented here, in stereo and slightly speeded up, is Take 3 - the basic track from 13 February, with bass and guitar added on 20 April - with unused vocal tracks (yielding a number of lyric variations from the master) overdubbed on to a separate "reduction", Take 12, flown in.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Feb 13, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Overdubs:
- Feb 14, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Overdubs:
- Apr 20, 1967
- Studio :
- EMI Studios, Abbey Road
8.
Being For The Benefit of Mr. Kite!
1:05 • Outtake • C2016 • Takes 1 and 2. The recordings presented here come from that initial Abbey Road session, 17 February 1967, when the Beatles cut seven takes, beginning with the above dialogue that introduced Take 1, and the performance that followed and immediately broke down. Then there is Take 2, which also broke down, and the ensuing conversation wherein Paul offered John some direction.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Feb 17, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
9.
Being For The Benefit of Mr. Kite!
2:34 • Outtake • D2016 • The next cut, Take 7, formed the basic for the eventual master (which was Take 9), opening with George Martin encouraging the Beatles to perform, and then pumping away at the harmonium which he played on the track. Near to the end, this recording is crossfaded with an organ and calliope effects tape, prepared on 20 February, that formed part of the final master but is clearer in this new mix.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Feb 17, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Feb 20, 1967
- Studio :
- EMI Studios, Studio Three, Abbey Road
10.
3:06 • Outtake • C2016 • Takes 6, 7 and 8. This is a unique combination of some different takes and sounds that comprised the original master of Lucy In The Sky With Diamonds, broke down to their constituent parts and newly remixed. The basic track is Take 6, taped on 1 March, in which John sang a guide vocal, not yet attempting the finished model. The sound of a tamboura has been added from Take 7, also 1 March, and the chorus vocals have been flown in from Take 8, a "reduction" of Take 7 that received vocal overdubs the next day.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Mar 01, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Mar 02, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
11.
Within You Without You
5:28 • Outtake • C2016 • Instrumental. This is the master of the George Harrison composition that opened side two of Sgt. Pepper's Lonely Hearts Club Band, presented here in a fashion not previously available: remixed, without George's vocal, from the different original four-track tapes that formed that master. What remains, audible to the fore, is a combination of tamboura, tabla, dilruba and swaramandal tracks recorded in March, with violins, cellos and George's sitar track overdubbed on 3 April.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
12.
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
1:27 • Outtake • C2016 • Take 5. The master was Take 9, with overdubs - the version here is a basic track, Take 5, with Paul's guide vocal.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Apr 01, 1967
- Studio :
- EMI Studios, Studio One, Abbey Road
13.
You Know My Name (Look Up The Number)
5:43 • Outtake • B2016 • Extended version. Here it is issued in stereo and , at almost six minutes, in extended form for the first time, including never-heard-before sections cut out by John and newly restored. Now as then the emphasis is on fun, and there is plenty to enjoy, including the sound of Brian Jones of the Rolling Stones playing saxophone.
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Chris Thomas :
- Producer
- Jeff Jarratt :
- Recording engineer
- Session Recording:
- May 17, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Jun 07, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Jun 08, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Recording:
- Apr 30, 1969
- Studio :
- EMI Studios, Studio Three, Abbey Road
14.
4:02 • Outtake • C2016 • Take 16. Lacking at this juncture the many overdubs and effects that would turn it into perhaps the most compelling master ever issued by the Beatles this is Take 16 of I Am The Walrus, the basic track on to which all the extras were added.
- Paul McCartney :
- Tambourine
- Ringo Starr :
- Drums
- John Lennon :
- Electric piano, Vocals
- George Harrison :
- Electric guitar
- George Martin :
- Producer
- Geoff Emerick :
- Recording engineer
- Session Recording:
- Sep 05, 1967
- Studio :
- EMI Studios, Studio One, Abbey Road
- Session Vocal overdubs:
- Sep 06, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
15.
2:48 • Demo • C2016 • Three weeks before he recorded it for disc release on Magical Mystery Tour, Paul taped a piano/vocal demo of his latest song. Taking as long to achieve as it sounds - less than three minutes - he sat at the studio piano, playing and singing live. The result is far from the sound of the final master (indeed Paul hadn't yet fleshed out a full lyric) but it has a charm of its own and a nicely sent-up ending.
- Session Recording:
- Sep 06, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
16.
3:02 • Outtake • C2016 • Take 27. "Do you want us to do it again, George?" mocked Paul to the Beatles' producer at the star of this recording. Your Mother Should Know had already been on the blocks for a month, initial sessions taking place at a different venue - Chappell Studios, just off New Bond Street in Central London - on 22 and 23 August (the last time that the Beatles saw their manager Brian Epstein, who died on the 27th). Now Paul was embarking on a new arrangement, with snare drum, harmonium, jangle piano and vocal. The Beatles recorded eleven such takes of Your Mother Should Know during this 16th September session, the one featured here, Take 27, being marked "best", albeit only temporarily.
- Paul McCartney :
- Harmonium, Lead vocals
- Ringo Starr :
- Drums
- John Lennon :
- Harpsichord
- George Harrison :
- Bongos
- George Martin :
- Producer
- Ken Scott :
- Recording engineer
- Session Recording:
- Sep 16, 1967
- Studio :
- EMI Studios, Studio Three, Abbey Road
17.
3:45 • Outtake • D2016 • Take 4. The master of Paul's The Fool On The Hill was a remake, started on 26 September. Three takes of an alternative arrangement were recorded the previous day, the last being "bounced down" to Take 4 and on to which recorder, drums and Paul's lead vocal were added. As with the demo, it is clear that Paul had yet to finalise the lyric at this point.
- Paul McCartney :
- Piano, Recorder, Vocals
- Ringo Starr :
- Drums
- John Lennon :
- Acoustic guitar
- George Harrison :
- Maracas
- George Martin :
- Producer
- Ken Scott :
- Recording engineer
- Session Recording:
- Sep 25, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
18.
3:18 • Outtake • C2016 • An early incarnation of Paul's Hello, Goodbye, the master of which was issued as a single by the Beatles in November 1967 and was the Christmas number one - in Britain holding off composition from the Magical Mystery Tour double-EP set. This is Take 16 (a "reduction" of the best basic track, Take 14, from 2 October) with vocals and more guitars added on 19 October. From here the recording would be "bounced" three more times and given a number of further overdubs, so, although, there are similarities, there are also many differences between this take and the master.
- Paul McCartney :
- Backing vocals, Lead vocals, Piano
- Ringo Starr :
- Congas, Drums
- John Lennon :
- Backing vocals, Lead guitar, Organ
- George Harrison :
- Backing vocals, Lead guitar, Tambourine
- George Martin :
- Producer
- Ken Scott :
- Recording engineer
- Unknown musician(s) :
- Bongos, Maracas
- Session Recording:
- Oct 02, 1967
- Studio :
- EMI Studios, Studio Two, Abbey Road
- Session Overdubs:
- Oct 19, 1967
- Studio :
- EMI Studios, Studio One, Abbey Road
19.
2:22 • Outtake • C2016 • Takes 3 and 4. This is a unique remix of some of the different takes and sounds that comprised the master, encompassing Take 3 (the basic track of piano and drums with overdubs of guitar, bass, vocals and more drums) from 3 February and a "reduction" of this called Take 4, also with overdubs (particularly saxes), from 6 February.
- Session Recording:
- Feb 03, 1968
- Studio :
- EMI Studios, Studio Three, Abbey Road
- Session Overdubs:
- Feb 06, 1968
- Studio :
- EMI Studios, Studio One, Abbey Road
20.
3:29 • Outtake • C2016 • Take 2. Here, for the first time, is an unembellished and alternative recording Across The Universe, Take 2, recorded on Saturday 3 February 1968 in EMI Studio Three, temporarily marked "best" on the tape box and so afforded overdubs and technical wonders like the phasing on John's guitar and the percussion.
- Ringo Starr :
- Tom tom drum and swarmandal
- John Lennon :
- Lead vocal and acoustic guitar
- George Harrison :
- Sitar and tambura
- George Martin :
- Producer
- Ken Scott :
- Recording engineer
- Session Recording:
- Feb 04, 1968
- Studio :
- EMI Studios, Studio Three, Abbey Road
About
From Beatles Remastered ‘Anthology’ Albums Debut On All Streaming Services | Billboard, April 4, 2016:
We had to wait until last Christmas to hear the Beatles’ studio albums on streaming services. On Monday morning (Apr. 4) at 12:01 a.m., the Fab Four went all in, offering remastered version of their Anthology albums on all major services.
Anthology, Volumes 1-3, which were originally released in two-disc sets in 1995 and 1996, included rare and previously unreleased recordings, plus studio outtakes, alternate versions and singles “Free as a Bird” and “Real Love.” Upon their original release, the collections went multi-platinum in several countries and “Free as a Bird” (completed by George Harrison, Paul McCartney and Ringo Starr from 1977 demos recorded by John Lennon) was the Beatles’ 34th top 10 hit in the U.S.
All three volumes were remastered at Abbey Road Studios by the same group of engineers who worked on the band’s Grammy-winning 2009 studio album remasters. The tracks can be heard on major international services including Apple Music, Deezer, Google Play, Microsoft Groove, Prime Music, Rhapsody, Slacker Radio, Spotify and Tidal, as well as dozens of local streaming partners around the world.
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