|Do You Want To Know A Secret Recorded Feb. 11,
1963, Take 8, Track 2 opens with John and Paul asking George Martin for instructions on
where to place the "Do-Dahs" during the chorus. A complete run-through
follows, with George Harrison's lead vocal still single-tracked at this stage.
Taste Of Honey Recorded Feb. 11, 1963, this version features an unreleased
mono mix completed 2/25/63. Take 7, Track 2 has Paul's vocal double-tracked,
slightly out of synchronization, to provide a fuller sound.
Seventeen Take 10, as presented here, is a complete run-through
performed live at EMI studios Feb. 11, 1963. George Martin took portions of takes 9 and 11
to produce the final incarnation, "I Saw Her Standing There."
There's A Place Recorded live in the studio Feb. 11, 1963, Take
11 has no overdubs and is much faster paced than the more familiar take 13 (judged best by
You're Gonna Lose That Girl Beginning with a count from George,
Take 3, recorded Feb. 19, 1965, at the start of the "Help!" sessions, contains
no reverb or electronic effects, and the bongo track runs throughout.
I Need You Started on Feb. 15, 1965, and completed the next day,
Take 5 presented here, is a previously unreleased stereo mix. The absence of all
reverb and other studio effects allows George to bring his tone pedal "wah-wah"
guitar far forward to the right channel on this mix.
Yes It Is Take 14, recorded on Feb. 16, 1965. This
recording, presented here, prior to the final overdubs of "Live" harmony, again
features George Harrison's newly acquired tone pedal for guitar.
Twelve-Bar Original Never released, this was the Beatles' first
attempt at recording an entire instrumental after reaching world-wide fame. Take 2,
recorded live without overdubs Nov. 4, 1965, was mixed down and transferred to reference
disc Nov. 30, 1965 (hence the surface noise present). This is the only known surviving
recording of the Beatles' attempt at the blues a la Rolling Stones.
Strawberry Fields Forever (Home Demos) By the mid-60's, all the
Beatles owned home tape machines which allowed them to put down ideas that would later
prove invaluable back at EMI. In early November 1966, John began work on what would
later evolve into arguably his most ambitious recording to date. Presented here are John's
four original home demos.
Strawberry Fields Forever (Studio Takes) The evolution of a
masterpiece of studio work traced through eight separate takes in the order they were
recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded
on Nov. 28. At this point John had a very different song. One day later, Takes
5 and 7 were recorded. John, still not happy with the sound, asked George Martin to
score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the
original trumpet and cello backing track later used on the finished recording. Take
26, recorded the same day, adds vocals and brings us close to the finished song, although
George Martin eventually edited two versions together for the final incarnation.
Across The Universe Take 7, recorded on Feb. 4, 1968, was
originally planned for single release. This early mix has backward guitar sounds and
differs from both the "Wildlife" and "Let It Be" versions.
Lady Madonna An early raw version (Take 3) recorded Feb. 3,
1968, live in the studio with an attempted vocal overdub, aborted seconds into the take.
Not Guilty Take 99, recorded Aug. 8, 1968, during the
"White Album" sessions. This is the complete unedited stereo mix, running
several minutes longer than all other known versions. George sings lead.
What's The New Mary Jane? Take 4, recorded Aug. 14, 1968.
This recording is unique in that John's vocals are single-tracked, without the
"echo" effect predominant on other known versions. At the end you will hear John
exclaim, "Let's hear it back before they come to take us away."
A Case Of The Blues Another Lennon home demo recorded during
December of 1968. Written between the "White Album" and "Get Back"
sessions, no known studio take exists.
Because Beethoven's Piano Sonata in C Sharp Minor, Opus 27 No.
2, provided the inspiration for this track (when played back to front!). Take 23
spotlights the beautiful three-part harmonies of John, Paul and George in this outtake
vocal track, recorded Aug. 1, 1969.