The Beatles 1967-??-??
Sgt Pepper Recording Sessions Reconstructed, London, England
Set 1
Disc 1
Nov 24th 1966 - Studio Two, 7:00pm-2:30am
STRAWBERRY FIELDS FOREVER Rehearsal
STRAWBERRY FIELDS FOREVER Take 1
The basic instrumentation was all recorded to track 1, panned left in the Anthology version.
STRAWBERRY FIELDS FOREVER SI onto take 1
Lead and then backing vocals, in a stereo vocal mix from a sync of the Anthology version and the boot version. George’s mellotron contribution was oddly recorded to the same track as John’s lead vocal. The pitch of the vocals has been adjusted down by one semitone to sound more natural, although no tape speed variations are noted in any of the sources.
Nov 28th 1966 - Studio Two, 7:00pm-1:30am
STRAWBERRY FIELDS FOREVER Take 2
For this first remake they switched from the key of C major to the key of A major, which was to have significant consequences later on.
STRAWBERRY FIELDS FOREVER Take 3
Aborted early when John says “….it loud,†probably having a problem with his headphones.
STRAWBERRY FIELDS FOREVER Take 4
The basic take, plus George’s mellotron (utilizing the pitch wheel) and Paul’s bass overdubs to a second track. John’s vocal and guitar are on the other two tracks. The available stereo mix has the overdub panned left with the other instruments, making it impossible to isolate.
STRAWBERRY FIELDS FOREVER SI onto take 4
John’s lead vocal overdub.
Nov 29th 1966 - Studio Two, 2:30-8:00pm
STRAWBERRY FIELDS FOREVER Rehearsals
Found at the end of the reel after the proper takes.
STRAWBERRY FIELDS FOREVER Take 5
Paul practices the intro while John tunes his guitar.
STRAWBERRY FIELDS FOREVER Take 6
The basic take plus overdubs. Again the pan position of the overdub in the mix makes isolating it impossible.
STRAWBERRY FIELDS FOREVER SI onto take 6
John’s lead vocal overdub, a center channel extraction from the boot mix.
STRAWBERRY FIELDS FOREVER SI onto take 7
Stereo vocals from sync of takes 6 and 7, though the mix is a bit rough the take 6 vocal can be heard on the right and the new take 7 vocal on the left. According to RTB the take 7 vocal was recorded at 53 cps, so this track has been pitch-adjusted upward by one semitone.
STRAWBERRY FIELDS FOREVER SI onto take 7
On the last available track another mellotron part was recorded. The performer isn’t identified.
STRAWBERRY FIELDS FOREVER Take 7 RM 3
Remix mono 3 of the finished take 7.
Dec 6th 1966 - Studio Two, 6:45pm-1:50am
WHEN I'M SIXTY-FOUR Take 2
The basic take has bass, drums and piano, all on one track; most likely it’s George Martin performing the piano part, judging from the embellishments at the two minute mark. All versions of this song have been lowered by one semitone as they were originally played.
Dec 8th 1966 - Studio One, 2:30-5:30pm
WHEN I'M SIXTY-FOUR SI onto take 2
The lead vocal was also performed one semitone lower than heard on record. Paul was the only Beatle present for this afternoon session in Studio One.
Dec 8th 1966 - Studio Two, 7:00pm-3:40am
STRAWBERRY FIELDS FOREVER Takes 9-24.
Two reversed sections were utilized in the final percussion track; the first section was used in both the first and second verses, and the second section was used during the third verse. Both sections have been re-reversed to play as they were recorded.
STRAWBERRY FIELDS FOREVER Edit of takes 15 and 24 into take 25.
This is the full percussion track with reversed inserts, isolated from take 26, but with quite a bit of leakage of the later-overdubbed vocals.
Dec 9th 1966 - Studio Two, 2:30-10:00pm
STRAWBERRY FIELDS FOREVER SI onto take 25
Svaramandel from George, electric guitar from Paul and the ‘swinging flutes’ mellotron bit from John were overdubbed onto track 2, as well as the mellotron part that utilizes the pitch wheel. This rough remix attempts to highlight those elements recorded to this track. One has to wonder what sort of accompaniment these overdubs were played to, since the orchestra hadn’t been recorded yet, but they were clearly done before the orchestra because they can be heard in the background coming through the studio floor monitors during the orchestra performances.
Dec 15th 1966 - Studio Two, 2:30-12:00pm
STRAWBERRY FIELDS FOREVER SI onto take 25
First orchestra overdub, panned left in the take 25 boot mix. This performance wasn’t used in the mixdown to take 26.
STRAWBERRY FIELDS FOREVER SI onto take 25
Second orchestra overdub, panned right in the boot mix, a complete second performance of the score. The percussion track and the track 2 overdubs can be heard in the background playing back through the studio floor monitors.
STRAWBERRY FIELDS FOREVER Take 25 monitor mix.
An offline recording that contains everything that’s on tape prior to the reduction to take 26.
STRAWBERRY FIELDS FOREVER SI onto take 26
The double-tracked lead vocals recorded this day were preserved on RM9 of take 26, but they were wiped six days later by new overdubs.
Dec 20th 1966 - Studio Two, 7:00pm-1:00am
WHEN I'M SIXTY-FOUR SI onto take 2
Backing vocals and bells overdubs, isolated from the Yellow Submarine DVD 5.1 mix.
Dec 21st 1966 - Studio Two, 7:00-11:45pm
WHEN I'M SIXTY-FOUR SI onto take 4
Clarinet overdub, from the YSS right channel. All the vocals can be heard in the background playing back through the studio floor monitors. Afterwards three mono mixes were made, none of which was used.
STRAWBERRY FIELDS FOREVER SI onto take 26
Panned center in the take 26 boot mix are all of the newest overdubs that wiped John’s previously recorded double-tracked vocals: two new Lennon vocals, George’s re-recorded svaramandel, Ringo on snare, and John’s piano in the coda. The pitch has been adjusted down by one semitone to match the 47 cycle notation in RTB.
STRAWBERRY FIELDS FOREVER Take 26 monitor mix
Offline recording of the complete take 26 with all overdubs.
Dec 22nd 1966 - Studio Two, 7:00pm-11:30pm
STRAWBERRY FIELDS FOREVER Mono mix rm12
From the CD single. An edit of RM10 from take 7 and RM11 from take 26.
Disc 2
Dec 29th 1966 - Studio Three, 2:30-5:40pm
STRAWBERRY FIELDS FOREVER RS3
US stereo mix.
STRAWBERRY FIELDS FOREVER RS5
UK stereo mix. At the beginning of this session more mono mixes of When I’m Sixty Four were made but none were used.
Dec 29th 1966 - Studio Two, 7:00pm-2:15am
PENNY LANE Take 6
Paul’s basic piano part, taken from the Anthology DVD 5.1 SLSR channels.
PENNY LANE SI onto take 6
Three piano parts, all played by Paul, and a harmonium part were recorded across all 4 tracks. The third piano part can be heard on this track just right of center, along with the tambourine, starting at the chorus. As noted in RTB, this is the part played through the Vox amplifier with tremolo.
Dec 30th 1966 - Studio Two, 7:00pm-3:00am
WHEN I'M SIXTY-FOUR Mono mix
PENNY LANE SI onto take 7
Following a reduction mix, a lead vocal was overdubbed, nicely isolated on the Anthology DVD 5.1 soundtrack. The pitch has been adjusted down by one semitone to more closely match the recording speed of 47.5 cycles.
Jan 4th 1967 - Studio Two, 7:00pm-2:45am
PENNY LANE SI onto take 7
Overdub of a second vocal from Paul, piano by John and guitar by George. These performances were wiped the next day by new overdubs. No audio available.
Jan 5th 1967 - Studio Two, 7:00pm-12:15am
PENNY LANE SI onto take 7
This is a stereo split-vocal track from the Anthology DVD 5.1 channels, with the first vocal plus the new second vocal recorded this day, which wiped the previous day’s vocal in the process. This track also has the clearest representation of the low and high harmonium notes from track 4 of take 6, some of which were probably recorded at half speed.
CARNIVAL OF LIGHT
No audio available. :(
Jan 6th 1967 - Studio Two, 7:00pm-1:00am
PENNY LANE SI onto take 7
Overdub of bass, guitar, drums and congas, which replaced the piano/guitar parts from 1/4, taken from the Anthology DVD 5.1 FLFR center channel extraction. Probably George on guitar since John is on congas. No varispeed shenanigans are noted in RTB, but RS says this overdub was performed at 47.5 cycles so this track has been speed-adjusted down a semitone. Also the second piano from take 6 can be most clearly heard here. The trumpet solo hadn’t been recorded yet so as usual pretend it isn’t there.
Jan 9th 1967 - Studio Two, 7:00pm-1:45am
PENNY LANE SI onto take 9
Flutes and trumpets tracking session, the full 14 minute version with the low-volume parts faded up. This recording was made by John, fiddling about in the control room.
PENNY LANE SI onto take 9
Overdub of flutes and trumpets, from the right channel of the RS95 video mix. The oboes were overdubbed three days later. The Vox-amplified piano overdub from take 6 is prominent.
Jan 10th 1967 - Studio Three, 7:00pm-1:40am
PENNY LANE SI onto take 9
Overdub of hand-bell and backing vocals, from the Anthology DVD 5.1 SLSR center channel.
Jan 12th 1967 - Studio Three, 2:30-11:00pm
PENNY LANE SI onto take 9
This overdub consisted of two oboes, two trumpets, two cor anglais and a double-bass. The mix utilizes mostly the left channel isolation from the RS95 video mix, then at the end switches to RM8 from Turn Me On Dead Man to pick up the oboes again.
PENNY LANE RM8
The second of two mono mixes done following the session.
Jan 17th 1967 - Studio Two, 7:00pm-12:30am
PENNY LANE SI onto take 9
The oboes were replaced by a piccolo trumpet solo. The mix is an edit of the Anthology DVD 5.1 center channel and the ending of the RS95 left channel isolation.
PENNY LANE RM9
PENNY LANE RM10
PENNY LANE RM11
Jan 19th 1967 - Studio Two, 7:30pm-2:30am
A DAY IN THE LIFE Take 1
This take 1 composite is from Purple Chick, with some of George Martin’s voiceover with a bit of take 1 underneath.
A DAY IN THE LIFE Take 2
PC also did this composite of take 2.
A DAY IN THE LIFE Take 4
The basic take direct from track 1 of the leaked multitrack. John also recorded his lead vocal on track 4, which can be heard faintly in the background.
A DAY IN THE LIFE SI onto take 4
John’s lead vocal as heard on the multitrack is actually a comp of John vocals from tracks 2, 3 and 4 of take 4, combined onto track 4 of the take 6 reduction. Paul added some more piano on one of these tracks as well, and Mal’s counting is on one of the three tracks. Paul’s vocal was dropped in later.
Disc 3
Jan 20th 1967 - Studio Two, 7:00pm-1:10am
A DAY IN THE LIFE SI onto take 6
Paul and Ringo overdubbed bass and drums, and Paul inserted his vocal onto track 4, all of which were erased later. This RM1 rough mix was made on the 30th for acetate cutting.
Jan 25th 1967 - Studio One, 6:30-8:30pm
PENNY LANE Mono mix RM14
From the CD single.
Jan 30th 1967 - Studio Three, 7:00-8:30pm
A DAY IN THE LIFE RM1
The RM1 acetate was mixed on this day while the Beatles were off filming the Strawberry Fields Forever promo video.
Feb 1st 1967 - Studio Two, 7:00pm-2:30am
SGT PEPPER’S LONELY HEARTS CLUB BAND Take 9
The basic take as heard on the leaked multitrack. Paul overdubbed the bass on track 2 after he and George played the guitars on track 1 along with Ringo’s drums.
Feb 2nd 1967 - Studio Two, 7:00pm-1:45am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 9
Vocals were recorded to tracks 3 and 4 of take 9, and during the take 10 reduction combined into one track as heard on the multitracks. Both of these vocal tracks have backing vocals in the chorus. This first vocal track is an edit of the lead vocal from the multitrack and the backing vocal track heard in the center channel of the Yellow Submarine DVD 5.1 mix.
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 9
The best isolation of the second backing vocal track is in the right channel of the Yellow Submarine Songtrack remix. Paul’s lead guitar was overdubbed later.
SGT PEPPER’S LONELY HEARTS CLUB BAND take 10 RM1
At the end of the session a demo remix was made for cutting an acetate.
Feb 3rd 1967 - Studio Two, 7:00pm-1:15am
A DAY IN THE LIFE SI onto take 6
Paul and Ringo re-recorded their bass and drum parts, accompanied by John and George on percussion during the middle 8.
A DAY IN THE LIFE SI onto take 6
Paul re-records his middle-8 vocal with a punch-in onto track 4, accompanied by John (on high falsetto) and George (on the low ooh’s) as Paul sings the ahh’s, all in one pass.
Feb 8th 1967 - Studio Two, 7:00pm-2:15am
GOOD MORNING GOOD MORNING Take 8
The basic take may have been just guitar and drums, unless Paul played a placeholder bass part on a separate track which would have been replaced by his overdub on the 16th.
Feb 9th 1967 - Regent Sound Studio, time unknown
FIXING A HOLE Take 2
Recorded at Regent Sound, with George Martin on harpsichord. Paul’s guide vocal can be heard in the background.
FIXING A HOLE SI onto take 2
Lead guitar and backing vocals, most likely overdubbed at Regent Sound. Sources differ as to who the guitar player is; both George and Paul have been credited. The most likely overdub scheme for this song is outlined in TMF.
Feb 10th 1967 - 8:00pm-1:00am
A DAY IN THE LIFE SI onto take 7
The orchestra overdub for this song was performed several times to a separate machine cued by a 50hz sync tone. As they reportedly had trouble getting the synced 4-track to start when it was supposed to, the different orchestra takes should all begin at different times. All 4 tracks from the extra machine are mixed to the FL FR SL and SR channels in the Anthology DVD 5.1 mix. First we have the FR and FL channel isolations presented separately because they sound like unique performances of the entire orchestra recorded in mono to just one track, based primarily on the timing of when the orchestra comes in.
A DAY IN THE LIFE SI onto take 7
The previous track was from the isolated FR channel, and this one is from the isolated FL channel. Either could have been performed first.
A DAY IN THE LIFE SI onto take 7
The SL and SR channels have common elements in the center when they’re listened to together in stereo, and start up at the same time, leading to the possibility that they might have made one orchestra recording in stereo.
A DAY IN THE LIFE SI onto take 7
One last orchestra overdub was recorded onto the 4th track of the original tape. Because it therefore syncs perfectly, it was easy to identify as the C channel in the 5.1 mix, and later to compare to the multitrack.
A DAY IN THE LIFE Edit piece takes 8-11
The first attempt at a grand conclusion.
Feb 13th 1967 - Studio Two, 7:00pm-3:30am
ONLY A NORTHERN SONG Take 3
From the left and right channel isolations of the Anthology CD version. Several mono mixes of A Day in the Life were attempted at the beginning of the session. Perhaps the Beatles were late to arrive…
Feb 14th 1967 - Studio Two, 7:00pm-12:30am
ONLY A NORTHERN SONG SI onto take 12
Lead vocal overdubs from the Anthology CD center channel isolation. These vocals were unused in the original released version. New vocals were later added to the take 11 reduction mix from this session.
Feb 16th 1967 - Studio Three, 7:00pm-1:45am
GOOD MORNING GOOD MORNING SI onto take 8
Overdubs of John’s lead vocal and Paul’s bass. The vocal isolation is from the Anthology remix. The bass can be heard on the earlier rhythm track.
Feb 17th 1967 - Studio Two, 7:00pm-3:00am
BEING FOR THE BENEFIT OF MR KITE rehearsal take
From Purple Chick.
BEING FOR THE BENEFIT OF MR KITE studio chat
The bit with the “Massed Alberts,†also from Purple Chick.
BEING FOR THE BENEFIT OF MR KITE Take 1
From PC’s Sgt Pepper Deluxe set.
BEING FOR THE BENEFIT OF MR KITE Take 2
From PC.
BEING FOR THE BENEFIT OF MR KITE Take 7
From PC.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
John overdubbed a new lead vocal following a reduction mix.
Feb 20th 1967 - Studio Three, 7:00pm-2:15am
BEING FOR THE BENEFIT OF MR KITE Sound effects tape
The calliope tape was compiled this day but not added to the song yet. From PC. In George Martin’s book he mentions the calliope tape running fast at 56.5 cycles, so this track has been adjusted down by two semitones to how it may originally have sounded.
Feb 21st 1967 - Studio Two, 7:00pm-12:45am
FIXING A HOLE SI onto take 3
Take 2 from Regent Sound was reduced into take 3 and Paul overdubbed two vocals, presented here in semi-stereo as best as can be derived from the official stereo mix.
FIXING A HOLE Mono mix edit of 3 and 6
Disc 4
Feb 22nd 1967 - Studio Two, 7:00pm-12:45am
A DAY IN THE LIFE Edit piece 1-9
Track 1 of the piano ending from the SL and SR channels of the 5.1 mix, this is the first piano part that they slowed to half-speed to double the sustain time as noted in RTB, first heard at normal speed as they played it, then half-speed as on record.
A DAY IN THE LIFE Edit piece 1-9
Track 2 from the FL channel, this is a guess as the second performance since the playing is fairly precise.
A DAY IN THE LIFE Edit piece 1-9
Track 3 from the FR channel, another guess based on the less precise hitting of the chord, which wouldn’t have mattered as much at this point.
A DAY IN THE LIFE Edit piece 1-9
Track 4 from the C channel is George Martin overdubbing harmonium.
A DAY IN THE LIFE Mono mix
A DAY IN THE LIFE RS 1
A DAY IN THE LIFE RS 2
A DAY IN THE LIFE RS 3
A DAY IN THE LIFE RS 4
A DAY IN THE LIFE RS 5
A DAY IN THE LIFE RS 6
A DAY IN THE LIFE RS 7
A DAY IN THE LIFE RS 8
A DAY IN THE LIFE RS 9
ANYTHING aka DRUM TRACK 1
Wishful thinking again. No audio available.
Feb 23rd 1967 - Studio Two, 7:00pm-3:45am
A DAY IN THE LIFE Stereo mix
From the 67-70 CD with the clean intro.
LOVELY RITA Take 8
Left channel isolation from the stereo mix, with Paul on piano, and John and George on acoustic guitars. The final mixes of this song were done with the tape running at 48.75 cycles, making the song sound a bit slower and lower in pitch than originally performed, so this track has been adjusted upward by 42 cents to bring it back in key.
LOVELY RITA SI onto take 8
Bass overdub. This one is heavily EQ’d, and also pitch-adjusted like the previous track.
Feb 24th 1967 - Studio Two, 7:00pm-1:15am
LOVELY RITA SI onto take 9
The lead vocal was recorded at 46.5 cycles to sound higher in pitch on replay at normal speed. With the mixes having been done at 48.75 cycles, a bit of math is required to figure out what speed this track should play back at to sound normal. Paul’s vocal ordinarily would play back more than a semitone higher than it should because of the slower speed it was recorded at, but because the mixing speed was slowed a bit, that would in turn lower the pitch of Paul’s voice again, as in 120 cents minus 42 cents = 78 cents or roughly 4/5ths of a semitone. The backing vocals and piano solo weren’t recorded until March.
Feb 28th 1967 - Studio Two, 7:00pm-3:00am
LUCY IN THE SKY WITH DIAMONDS Rehearsals
No audio available. Photos from this session show John and George both playing their Epiphone Casinos during the rehearsals.
Mar 1st 1967 - Studio Two, 7:00pm-2:15am
A DAY IN THE LIFE SI onto take 6
A piano overdub was recorded after the final mixing had already been done, but it was never used and remained a mystery until copies of the multitracks became available. It’s at the beginning of track 4, the orchestra track.
LUCY IN THE SKY WITH DIAMONDS Takes 6, 7, and 8
A comp from Anthology 2.
LUCY IN THE SKY WITH DIAMONDS SI onto take 7
George overdubbed a tamboura drone onto take 7, following which a reduction mix was made putting all of the take 7 instrumentation on one track, heard far left in the stereo mix.
Mar 2nd 1967 - Studio Two, 7:00pm-3:30am
LUCY IN THE SKY WITH DIAMONDS SI onto take 8
George and Paul overdub guitar and bass to another track, heard far right in the stereo mix.
LUCY IN THE SKY WITH DIAMONDS SI onto take 8
John and Paul recorded vocals to the two remaining tracks, at different speeds. One set of vocals was recorded at 45 cycles and the other at 48.5. This stereo vocal track derived from the CD is slowed by a semitone, a compromise half-way between the two speeds.
Mar 3rd 1967 - Studio Two, 7:00pm-2:15am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 10
Lead guitar and french horn overdubs were recorded this day, both to track 3 as heard on the booted multitracks. RTB says the horns were recorded first, but Paul’s lead guitar could have been, since it sounds like his last descending riff is cut off (which would occur because of the punching-in of the horns onto the same track); however it might just be the tape-op stopping the tape and cutting off Paul’s performance in order not to erase the previously-recorded horns.
LUCY IN THE SKY WITH DIAMONDS Mono mix
Disc 5
Mar 6th 1967 - Studio Two, 7:00pm-12:30am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 10
Audience sound effects overdub, straight from the multitrack.
SGT PEPPER’S LONELY HEARTS CLUB BAND Mono mix
SGT PEPPER’S LONELY HEARTS CLUB BAND Stereo mix
Mar 7th 1967 - Studio Two, 7:00pm-2:30am
LOVELY RITA SI onto take 11
The backing vocals are isolated from the right channel of the stereo mix. None of the usual sources mention whether the backing vocals were subject to recording at a different speed. Adjusting upward by 42 cents to compensate for the 48.75 cycle mixing speed made them sound too fast though, so they were left as is.
Mar 9th 1967 - Studio Two, 7:00pm-3:30am
GETTING BETTER Take 7
The basic take can be heard left in the stereo mix, with Paul on guitar and George Martin on pianet. The tamboura was overdubbed the next day.
Mar 10th 1967 - Studio Two, 7:00pm-4:00am
GETTING BETTER SI onto take 12
Tamboura, snare, and bass were all overdubbed to separate tracks following a tape reduction. This heavily-EQ’d track highlights the bass overdub.
Mar 13th 1967 - Studio Two, 7:00pm-2:30am
GOOD MORNING GOOD MORNING SI onto take 10
The brass overdub was performed by Sounds Inc. The backing vocals and animal noises are from later overdubs, all panned far right in the stereo mix and making them impossible to separate.
Mar 15th 1967 - Studio Two, 7:00pm-1:30am
WITHIN YOU WITHOUT YOU Take 1
The tabla and tamboura from the basic take are in the stereo left channel. This track has been adjusted down by one semitone to how it was recorded. During the final mixing it was played back at 53 cycles.
Mar 17th 1967 - Studio Two, 7:00pm-12:45am
SHE'S LEAVING HOME Take 1
Mike Leander composed the score. Both takes 1 and 6 were marked as best, but take 1 is the one they decided to use.
Mar 20th 1967 - Studio Two, 7:00pm-3:30am
SHE'S LEAVING HOME SI onto take 9
The first vocal overdub, from the multitracks.
SHE'S LEAVING HOME SI onto take 9
The second vocal overdub, from the multitracks. Note the unused low harmony part.
SHE'S LEAVING HOME Mono mix
The mono mix was done with the tape playing at 53 cycles, one semitone higher than the stereo version which wasn’t mixed until almost a month later.
Mar 21st 1967 - Studio Two, 7:00pm-2:45am
GETTING BETTER SI onto take 14
Two vocal overdubs were recorded this day but were later wiped. This is the session where John had taken some LSD by accident and ended up on the studio roof, soon to be fetched down by his bandmates. No audio available, either of the overdub or John’s acid trip.
LOVELY RITA SI onto take 11
The piano solo was recorded at 41.25 cycles, and mixed along with everything else at 48.75 cycles. This track has been lowered by 3 semitones to approximate this (and avoid doing the math!).
LOVELY RITA Mono mix
Mar 22nd 1967 - Studio Two, 7:00pm-2:15am
WITHIN YOU WITHOUT YOU SI onto take 1
According to RS the dilrubas were overdubbed at 52.5 cycles, but with the final mixdown being done at 53 cycles the dilrubas would sound on record pretty much at the same speed as they were recorded, so no speed adjustments have been made. A reduction mix was done afterwards. Strings were overdubbed two weeks later.
Mar 23rd 1967 - Studio Two, 7:00pm-3:45am
GETTING BETTER SI onto take 14
Two tracks of new vocals from Paul backed by John and George were recorded to replace the ones done two days earlier. Bass is a prior overdub from the 10th.
GETTING BETTER SI onto take 15
After still another reduction, the one freed-up track was filled with guitar, handclaps, piano and bongos, panned right in the stereo mix.
GETTING BETTER Mono mix
Mar 28th 1967 - Studio Two, 7:00pm-4:45am
GOOD MORNING GOOD MORNING SI onto take 10
John doubled and harmonized with parts of his lead vocal, isolated from the CD center channel. Paul’s lead guitar was overdubbed afterwards.
GOOD MORNING GOOD MORNING SI onto take 11
Backing vocals and Paul’s lead guitar were both recorded to track 3, but panned right and center respectively in the stereo mix.
GOOD MORNING GOOD MORNING Sound effects
The animal noises were compiled from the Abbey Road sound effects library, but not added to the tape yet.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
Harmonicas, organ and lead guitar, all overdubbed at half speed to the middle section of the song, isolated from the LOVE 5.1 mix.
Mar 29th 1967 - Studio Two, 7:00pm-5:45am
GOOD MORNING GOOD MORNING SI onto take 11
The animal noises sound effects were added to the multitrack tape at this session.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
RS only mentions the sound effects tape being dubbed in, as well as a “swirling organ†played by George Martin. However photos taken at this session show John and George playing big bass harmonicas into a microphone, with George Martin in the background at the keyboard. This must be the overdub of the intro and bits at the end of the verses, as described in RTB, but performed after the half-speed middle section. Both overdubs went onto track 3, as well as the dubbed in calliope tape at the end.
WITH A LITTLE HELP FROM MY FRIENDS Take 10
The basic take from the multis.
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Vocals from the multitrack.
Mar 30th 1967 - Studio Two, 11:00pm-7:30am
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Overdub of bass and tambourine from the multis.
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Backing vocals and guitar were added to the last track.
Disc 6
Mar 31st 1967 - Studio Two, 7:00pm-3:00am
WITH A LITTLE HELP FROM MY FRIENDS Mono mix
BEING FOR THE BENEFIT OF MR KITE
Excerpt of the song’s ending, to which they added an overdub of organ and glockenspiel, panned right in the stereo mix.
BEING FOR THE BENEFIT OF MR KITE Mono mix
Apr 1st 1967 - Studio One, 7:00pm-6:00am
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Take 5
The version on the Anthology CD.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Take 9
The basic take from the center channel isolation of the stereo, with some bleed-through from the later vocal overdubs.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) SI onto take 9
Vocal overdub from the stereo right channel.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) SI onto take 9
Percussion is on a separate track, heard left in the stereo mix. Vocals are ADT’d and/or doubled.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Mono mix
Apr 3rd 1967 - Studio Two, 7:00pm-3:00am
WITHIN YOU WITHOUT YOU SI onto take 2
The strings were overdubbed onto track 3, then George added his vocals and the sitar to track 4. All are panned center in the stereo mix.
WITHIN YOU WITHOUT YOU SI onto take 2
An excerpt from the song’s middle with a slightly better isolation of the sitar overdub.
Apr 4th 1967 - Studio Two, 7:00pm-12:45am
WITHIN YOU WITHOUT YOU Mono mix edit of RM10 and RM12
Laughter edited on afterwards.
WITHIN YOU WITHOUT YOU Stereo mix edit of RS3 and RS5
Laughter edited on afterwards.
Apr 6th 1967 - Studio Two, 7:00pm-1:00am
GOOD MORNING GOOD MORNING Stereo mix RS5
Also done this day were the crossfades for the mono lp.
Apr 7th 1967 - Studio Two, 7:00pm-1:00am
WITH A LITTLE HELP FROM MY FRIENDS Stereo mix RS3
BEING FOR THE BENEFIT OF MR KITE Stereo mix RS8
FIXING A HOLE Stereo mix RS1
LUCY IN THE SKY WITH DIAMONDS Stereo mix RS5
Apr 17th 1967 - Studio Two, 7:00-10:30pm
GETTING BETTER Stereo mix RS1
SHE’S LEAVING HOME Stereo mix RS6
For the mono mix the tape had been played back at 53 cycles, speeding up everything in the process. This stereo mix was done at normal speed. Why it wasn’t done at the same speed as the mono mix is a bit of a mystery, since the following stereo mix of When I’m Sixty Four was adjusted to match its mono counterpart.
WHEN I’M SIXTY-FOUR Stereo mix RS1
LOVELY RITA Stereo mix RS2
Apr 19th 1967 - Studio Two, 7:00pm-12:30am
GOOD MORNING GOOD MORNING Mono mix RM23
Apr 20th 1967 - Studio Three, 5:00-6:15pm
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Stereo mix RS10
Apr 20th 1967 - Studio Two, 7:00pm-2:15am
ONLY A NORTHERN SONG SI onto take 3
Bass, trumpet and other sounds were overdubbed onto take 3, wiping the original vocals in the process.
ONLY A NORTHERN SONG SI onto take 11
Nov 24th 1966 - Studio Two, 7:00pm-2:30am
STRAWBERRY FIELDS FOREVER Rehearsal
STRAWBERRY FIELDS FOREVER Take 1
The basic instrumentation was all recorded to track 1, panned left in the Anthology version.
STRAWBERRY FIELDS FOREVER SI onto take 1
Lead and then backing vocals, in a stereo vocal mix from a sync of the Anthology version and the boot version. George’s mellotron contribution was oddly recorded to the same track as John’s lead vocal. The pitch of the vocals has been adjusted down by one semitone to sound more natural, although no tape speed variations are noted in any of the sources.
Nov 28th 1966 - Studio Two, 7:00pm-1:30am
STRAWBERRY FIELDS FOREVER Take 2
For this first remake they switched from the key of C major to the key of A major, which was to have significant consequences later on.
STRAWBERRY FIELDS FOREVER Take 3
Aborted early when John says “….it loud,†probably having a problem with his headphones.
STRAWBERRY FIELDS FOREVER Take 4
The basic take, plus George’s mellotron (utilizing the pitch wheel) and Paul’s bass overdubs to a second track. John’s vocal and guitar are on the other two tracks. The available stereo mix has the overdub panned left with the other instruments, making it impossible to isolate.
STRAWBERRY FIELDS FOREVER SI onto take 4
John’s lead vocal overdub.
Nov 29th 1966 - Studio Two, 2:30-8:00pm
STRAWBERRY FIELDS FOREVER Rehearsals
Found at the end of the reel after the proper takes.
STRAWBERRY FIELDS FOREVER Take 5
Paul practices the intro while John tunes his guitar.
STRAWBERRY FIELDS FOREVER Take 6
The basic take plus overdubs. Again the pan position of the overdub in the mix makes isolating it impossible.
STRAWBERRY FIELDS FOREVER SI onto take 6
John’s lead vocal overdub, a center channel extraction from the boot mix.
STRAWBERRY FIELDS FOREVER SI onto take 7
Stereo vocals from sync of takes 6 and 7, though the mix is a bit rough the take 6 vocal can be heard on the right and the new take 7 vocal on the left. According to RTB the take 7 vocal was recorded at 53 cps, so this track has been pitch-adjusted upward by one semitone.
STRAWBERRY FIELDS FOREVER SI onto take 7
On the last available track another mellotron part was recorded. The performer isn’t identified.
STRAWBERRY FIELDS FOREVER Take 7 RM 3
Remix mono 3 of the finished take 7.
Dec 6th 1966 - Studio Two, 6:45pm-1:50am
WHEN I'M SIXTY-FOUR Take 2
The basic take has bass, drums and piano, all on one track; most likely it’s George Martin performing the piano part, judging from the embellishments at the two minute mark. All versions of this song have been lowered by one semitone as they were originally played.
Dec 8th 1966 - Studio One, 2:30-5:30pm
WHEN I'M SIXTY-FOUR SI onto take 2
The lead vocal was also performed one semitone lower than heard on record. Paul was the only Beatle present for this afternoon session in Studio One.
Dec 8th 1966 - Studio Two, 7:00pm-3:40am
STRAWBERRY FIELDS FOREVER Takes 9-24.
Two reversed sections were utilized in the final percussion track; the first section was used in both the first and second verses, and the second section was used during the third verse. Both sections have been re-reversed to play as they were recorded.
STRAWBERRY FIELDS FOREVER Edit of takes 15 and 24 into take 25.
This is the full percussion track with reversed inserts, isolated from take 26, but with quite a bit of leakage of the later-overdubbed vocals.
Dec 9th 1966 - Studio Two, 2:30-10:00pm
STRAWBERRY FIELDS FOREVER SI onto take 25
Svaramandel from George, electric guitar from Paul and the ‘swinging flutes’ mellotron bit from John were overdubbed onto track 2, as well as the mellotron part that utilizes the pitch wheel. This rough remix attempts to highlight those elements recorded to this track. One has to wonder what sort of accompaniment these overdubs were played to, since the orchestra hadn’t been recorded yet, but they were clearly done before the orchestra because they can be heard in the background coming through the studio floor monitors during the orchestra performances.
Dec 15th 1966 - Studio Two, 2:30-12:00pm
STRAWBERRY FIELDS FOREVER SI onto take 25
First orchestra overdub, panned left in the take 25 boot mix. This performance wasn’t used in the mixdown to take 26.
STRAWBERRY FIELDS FOREVER SI onto take 25
Second orchestra overdub, panned right in the boot mix, a complete second performance of the score. The percussion track and the track 2 overdubs can be heard in the background playing back through the studio floor monitors.
STRAWBERRY FIELDS FOREVER Take 25 monitor mix.
An offline recording that contains everything that’s on tape prior to the reduction to take 26.
STRAWBERRY FIELDS FOREVER SI onto take 26
The double-tracked lead vocals recorded this day were preserved on RM9 of take 26, but they were wiped six days later by new overdubs.
Dec 20th 1966 - Studio Two, 7:00pm-1:00am
WHEN I'M SIXTY-FOUR SI onto take 2
Backing vocals and bells overdubs, isolated from the Yellow Submarine DVD 5.1 mix.
Dec 21st 1966 - Studio Two, 7:00-11:45pm
WHEN I'M SIXTY-FOUR SI onto take 4
Clarinet overdub, from the YSS right channel. All the vocals can be heard in the background playing back through the studio floor monitors. Afterwards three mono mixes were made, none of which was used.
STRAWBERRY FIELDS FOREVER SI onto take 26
Panned center in the take 26 boot mix are all of the newest overdubs that wiped John’s previously recorded double-tracked vocals: two new Lennon vocals, George’s re-recorded svaramandel, Ringo on snare, and John’s piano in the coda. The pitch has been adjusted down by one semitone to match the 47 cycle notation in RTB.
STRAWBERRY FIELDS FOREVER Take 26 monitor mix
Offline recording of the complete take 26 with all overdubs.
Dec 22nd 1966 - Studio Two, 7:00pm-11:30pm
STRAWBERRY FIELDS FOREVER Mono mix rm12
From the CD single. An edit of RM10 from take 7 and RM11 from take 26.
Disc 2
Dec 29th 1966 - Studio Three, 2:30-5:40pm
STRAWBERRY FIELDS FOREVER RS3
US stereo mix.
STRAWBERRY FIELDS FOREVER RS5
UK stereo mix. At the beginning of this session more mono mixes of When I’m Sixty Four were made but none were used.
Dec 29th 1966 - Studio Two, 7:00pm-2:15am
PENNY LANE Take 6
Paul’s basic piano part, taken from the Anthology DVD 5.1 SLSR channels.
PENNY LANE SI onto take 6
Three piano parts, all played by Paul, and a harmonium part were recorded across all 4 tracks. The third piano part can be heard on this track just right of center, along with the tambourine, starting at the chorus. As noted in RTB, this is the part played through the Vox amplifier with tremolo.
Dec 30th 1966 - Studio Two, 7:00pm-3:00am
WHEN I'M SIXTY-FOUR Mono mix
PENNY LANE SI onto take 7
Following a reduction mix, a lead vocal was overdubbed, nicely isolated on the Anthology DVD 5.1 soundtrack. The pitch has been adjusted down by one semitone to more closely match the recording speed of 47.5 cycles.
Jan 4th 1967 - Studio Two, 7:00pm-2:45am
PENNY LANE SI onto take 7
Overdub of a second vocal from Paul, piano by John and guitar by George. These performances were wiped the next day by new overdubs. No audio available.
Jan 5th 1967 - Studio Two, 7:00pm-12:15am
PENNY LANE SI onto take 7
This is a stereo split-vocal track from the Anthology DVD 5.1 channels, with the first vocal plus the new second vocal recorded this day, which wiped the previous day’s vocal in the process. This track also has the clearest representation of the low and high harmonium notes from track 4 of take 6, some of which were probably recorded at half speed.
CARNIVAL OF LIGHT
No audio available. :(
Jan 6th 1967 - Studio Two, 7:00pm-1:00am
PENNY LANE SI onto take 7
Overdub of bass, guitar, drums and congas, which replaced the piano/guitar parts from 1/4, taken from the Anthology DVD 5.1 FLFR center channel extraction. Probably George on guitar since John is on congas. No varispeed shenanigans are noted in RTB, but RS says this overdub was performed at 47.5 cycles so this track has been speed-adjusted down a semitone. Also the second piano from take 6 can be most clearly heard here. The trumpet solo hadn’t been recorded yet so as usual pretend it isn’t there.
Jan 9th 1967 - Studio Two, 7:00pm-1:45am
PENNY LANE SI onto take 9
Flutes and trumpets tracking session, the full 14 minute version with the low-volume parts faded up. This recording was made by John, fiddling about in the control room.
PENNY LANE SI onto take 9
Overdub of flutes and trumpets, from the right channel of the RS95 video mix. The oboes were overdubbed three days later. The Vox-amplified piano overdub from take 6 is prominent.
Jan 10th 1967 - Studio Three, 7:00pm-1:40am
PENNY LANE SI onto take 9
Overdub of hand-bell and backing vocals, from the Anthology DVD 5.1 SLSR center channel.
Jan 12th 1967 - Studio Three, 2:30-11:00pm
PENNY LANE SI onto take 9
This overdub consisted of two oboes, two trumpets, two cor anglais and a double-bass. The mix utilizes mostly the left channel isolation from the RS95 video mix, then at the end switches to RM8 from Turn Me On Dead Man to pick up the oboes again.
PENNY LANE RM8
The second of two mono mixes done following the session.
Jan 17th 1967 - Studio Two, 7:00pm-12:30am
PENNY LANE SI onto take 9
The oboes were replaced by a piccolo trumpet solo. The mix is an edit of the Anthology DVD 5.1 center channel and the ending of the RS95 left channel isolation.
PENNY LANE RM9
PENNY LANE RM10
PENNY LANE RM11
Jan 19th 1967 - Studio Two, 7:30pm-2:30am
A DAY IN THE LIFE Take 1
This take 1 composite is from Purple Chick, with some of George Martin’s voiceover with a bit of take 1 underneath.
A DAY IN THE LIFE Take 2
PC also did this composite of take 2.
A DAY IN THE LIFE Take 4
The basic take direct from track 1 of the leaked multitrack. John also recorded his lead vocal on track 4, which can be heard faintly in the background.
A DAY IN THE LIFE SI onto take 4
John’s lead vocal as heard on the multitrack is actually a comp of John vocals from tracks 2, 3 and 4 of take 4, combined onto track 4 of the take 6 reduction. Paul added some more piano on one of these tracks as well, and Mal’s counting is on one of the three tracks. Paul’s vocal was dropped in later.
Disc 3
Jan 20th 1967 - Studio Two, 7:00pm-1:10am
A DAY IN THE LIFE SI onto take 6
Paul and Ringo overdubbed bass and drums, and Paul inserted his vocal onto track 4, all of which were erased later. This RM1 rough mix was made on the 30th for acetate cutting.
Jan 25th 1967 - Studio One, 6:30-8:30pm
PENNY LANE Mono mix RM14
From the CD single.
Jan 30th 1967 - Studio Three, 7:00-8:30pm
A DAY IN THE LIFE RM1
The RM1 acetate was mixed on this day while the Beatles were off filming the Strawberry Fields Forever promo video.
Feb 1st 1967 - Studio Two, 7:00pm-2:30am
SGT PEPPER’S LONELY HEARTS CLUB BAND Take 9
The basic take as heard on the leaked multitrack. Paul overdubbed the bass on track 2 after he and George played the guitars on track 1 along with Ringo’s drums.
Feb 2nd 1967 - Studio Two, 7:00pm-1:45am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 9
Vocals were recorded to tracks 3 and 4 of take 9, and during the take 10 reduction combined into one track as heard on the multitracks. Both of these vocal tracks have backing vocals in the chorus. This first vocal track is an edit of the lead vocal from the multitrack and the backing vocal track heard in the center channel of the Yellow Submarine DVD 5.1 mix.
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 9
The best isolation of the second backing vocal track is in the right channel of the Yellow Submarine Songtrack remix. Paul’s lead guitar was overdubbed later.
SGT PEPPER’S LONELY HEARTS CLUB BAND take 10 RM1
At the end of the session a demo remix was made for cutting an acetate.
Feb 3rd 1967 - Studio Two, 7:00pm-1:15am
A DAY IN THE LIFE SI onto take 6
Paul and Ringo re-recorded their bass and drum parts, accompanied by John and George on percussion during the middle 8.
A DAY IN THE LIFE SI onto take 6
Paul re-records his middle-8 vocal with a punch-in onto track 4, accompanied by John (on high falsetto) and George (on the low ooh’s) as Paul sings the ahh’s, all in one pass.
Feb 8th 1967 - Studio Two, 7:00pm-2:15am
GOOD MORNING GOOD MORNING Take 8
The basic take may have been just guitar and drums, unless Paul played a placeholder bass part on a separate track which would have been replaced by his overdub on the 16th.
Feb 9th 1967 - Regent Sound Studio, time unknown
FIXING A HOLE Take 2
Recorded at Regent Sound, with George Martin on harpsichord. Paul’s guide vocal can be heard in the background.
FIXING A HOLE SI onto take 2
Lead guitar and backing vocals, most likely overdubbed at Regent Sound. Sources differ as to who the guitar player is; both George and Paul have been credited. The most likely overdub scheme for this song is outlined in TMF.
Feb 10th 1967 - 8:00pm-1:00am
A DAY IN THE LIFE SI onto take 7
The orchestra overdub for this song was performed several times to a separate machine cued by a 50hz sync tone. As they reportedly had trouble getting the synced 4-track to start when it was supposed to, the different orchestra takes should all begin at different times. All 4 tracks from the extra machine are mixed to the FL FR SL and SR channels in the Anthology DVD 5.1 mix. First we have the FR and FL channel isolations presented separately because they sound like unique performances of the entire orchestra recorded in mono to just one track, based primarily on the timing of when the orchestra comes in.
A DAY IN THE LIFE SI onto take 7
The previous track was from the isolated FR channel, and this one is from the isolated FL channel. Either could have been performed first.
A DAY IN THE LIFE SI onto take 7
The SL and SR channels have common elements in the center when they’re listened to together in stereo, and start up at the same time, leading to the possibility that they might have made one orchestra recording in stereo.
A DAY IN THE LIFE SI onto take 7
One last orchestra overdub was recorded onto the 4th track of the original tape. Because it therefore syncs perfectly, it was easy to identify as the C channel in the 5.1 mix, and later to compare to the multitrack.
A DAY IN THE LIFE Edit piece takes 8-11
The first attempt at a grand conclusion.
Feb 13th 1967 - Studio Two, 7:00pm-3:30am
ONLY A NORTHERN SONG Take 3
From the left and right channel isolations of the Anthology CD version. Several mono mixes of A Day in the Life were attempted at the beginning of the session. Perhaps the Beatles were late to arrive…
Feb 14th 1967 - Studio Two, 7:00pm-12:30am
ONLY A NORTHERN SONG SI onto take 12
Lead vocal overdubs from the Anthology CD center channel isolation. These vocals were unused in the original released version. New vocals were later added to the take 11 reduction mix from this session.
Feb 16th 1967 - Studio Three, 7:00pm-1:45am
GOOD MORNING GOOD MORNING SI onto take 8
Overdubs of John’s lead vocal and Paul’s bass. The vocal isolation is from the Anthology remix. The bass can be heard on the earlier rhythm track.
Feb 17th 1967 - Studio Two, 7:00pm-3:00am
BEING FOR THE BENEFIT OF MR KITE rehearsal take
From Purple Chick.
BEING FOR THE BENEFIT OF MR KITE studio chat
The bit with the “Massed Alberts,†also from Purple Chick.
BEING FOR THE BENEFIT OF MR KITE Take 1
From PC’s Sgt Pepper Deluxe set.
BEING FOR THE BENEFIT OF MR KITE Take 2
From PC.
BEING FOR THE BENEFIT OF MR KITE Take 7
From PC.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
John overdubbed a new lead vocal following a reduction mix.
Feb 20th 1967 - Studio Three, 7:00pm-2:15am
BEING FOR THE BENEFIT OF MR KITE Sound effects tape
The calliope tape was compiled this day but not added to the song yet. From PC. In George Martin’s book he mentions the calliope tape running fast at 56.5 cycles, so this track has been adjusted down by two semitones to how it may originally have sounded.
Feb 21st 1967 - Studio Two, 7:00pm-12:45am
FIXING A HOLE SI onto take 3
Take 2 from Regent Sound was reduced into take 3 and Paul overdubbed two vocals, presented here in semi-stereo as best as can be derived from the official stereo mix.
FIXING A HOLE Mono mix edit of 3 and 6
Disc 4
Feb 22nd 1967 - Studio Two, 7:00pm-12:45am
A DAY IN THE LIFE Edit piece 1-9
Track 1 of the piano ending from the SL and SR channels of the 5.1 mix, this is the first piano part that they slowed to half-speed to double the sustain time as noted in RTB, first heard at normal speed as they played it, then half-speed as on record.
A DAY IN THE LIFE Edit piece 1-9
Track 2 from the FL channel, this is a guess as the second performance since the playing is fairly precise.
A DAY IN THE LIFE Edit piece 1-9
Track 3 from the FR channel, another guess based on the less precise hitting of the chord, which wouldn’t have mattered as much at this point.
A DAY IN THE LIFE Edit piece 1-9
Track 4 from the C channel is George Martin overdubbing harmonium.
A DAY IN THE LIFE Mono mix
A DAY IN THE LIFE RS 1
A DAY IN THE LIFE RS 2
A DAY IN THE LIFE RS 3
A DAY IN THE LIFE RS 4
A DAY IN THE LIFE RS 5
A DAY IN THE LIFE RS 6
A DAY IN THE LIFE RS 7
A DAY IN THE LIFE RS 8
A DAY IN THE LIFE RS 9
ANYTHING aka DRUM TRACK 1
Wishful thinking again. No audio available.
Feb 23rd 1967 - Studio Two, 7:00pm-3:45am
A DAY IN THE LIFE Stereo mix
From the 67-70 CD with the clean intro.
LOVELY RITA Take 8
Left channel isolation from the stereo mix, with Paul on piano, and John and George on acoustic guitars. The final mixes of this song were done with the tape running at 48.75 cycles, making the song sound a bit slower and lower in pitch than originally performed, so this track has been adjusted upward by 42 cents to bring it back in key.
LOVELY RITA SI onto take 8
Bass overdub. This one is heavily EQ’d, and also pitch-adjusted like the previous track.
Feb 24th 1967 - Studio Two, 7:00pm-1:15am
LOVELY RITA SI onto take 9
The lead vocal was recorded at 46.5 cycles to sound higher in pitch on replay at normal speed. With the mixes having been done at 48.75 cycles, a bit of math is required to figure out what speed this track should play back at to sound normal. Paul’s vocal ordinarily would play back more than a semitone higher than it should because of the slower speed it was recorded at, but because the mixing speed was slowed a bit, that would in turn lower the pitch of Paul’s voice again, as in 120 cents minus 42 cents = 78 cents or roughly 4/5ths of a semitone. The backing vocals and piano solo weren’t recorded until March.
Feb 28th 1967 - Studio Two, 7:00pm-3:00am
LUCY IN THE SKY WITH DIAMONDS Rehearsals
No audio available. Photos from this session show John and George both playing their Epiphone Casinos during the rehearsals.
Mar 1st 1967 - Studio Two, 7:00pm-2:15am
A DAY IN THE LIFE SI onto take 6
A piano overdub was recorded after the final mixing had already been done, but it was never used and remained a mystery until copies of the multitracks became available. It’s at the beginning of track 4, the orchestra track.
LUCY IN THE SKY WITH DIAMONDS Takes 6, 7, and 8
A comp from Anthology 2.
LUCY IN THE SKY WITH DIAMONDS SI onto take 7
George overdubbed a tamboura drone onto take 7, following which a reduction mix was made putting all of the take 7 instrumentation on one track, heard far left in the stereo mix.
Mar 2nd 1967 - Studio Two, 7:00pm-3:30am
LUCY IN THE SKY WITH DIAMONDS SI onto take 8
George and Paul overdub guitar and bass to another track, heard far right in the stereo mix.
LUCY IN THE SKY WITH DIAMONDS SI onto take 8
John and Paul recorded vocals to the two remaining tracks, at different speeds. One set of vocals was recorded at 45 cycles and the other at 48.5. This stereo vocal track derived from the CD is slowed by a semitone, a compromise half-way between the two speeds.
Mar 3rd 1967 - Studio Two, 7:00pm-2:15am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 10
Lead guitar and french horn overdubs were recorded this day, both to track 3 as heard on the booted multitracks. RTB says the horns were recorded first, but Paul’s lead guitar could have been, since it sounds like his last descending riff is cut off (which would occur because of the punching-in of the horns onto the same track); however it might just be the tape-op stopping the tape and cutting off Paul’s performance in order not to erase the previously-recorded horns.
LUCY IN THE SKY WITH DIAMONDS Mono mix
Disc 5
Mar 6th 1967 - Studio Two, 7:00pm-12:30am
SGT PEPPER’S LONELY HEARTS CLUB BAND SI onto take 10
Audience sound effects overdub, straight from the multitrack.
SGT PEPPER’S LONELY HEARTS CLUB BAND Mono mix
SGT PEPPER’S LONELY HEARTS CLUB BAND Stereo mix
Mar 7th 1967 - Studio Two, 7:00pm-2:30am
LOVELY RITA SI onto take 11
The backing vocals are isolated from the right channel of the stereo mix. None of the usual sources mention whether the backing vocals were subject to recording at a different speed. Adjusting upward by 42 cents to compensate for the 48.75 cycle mixing speed made them sound too fast though, so they were left as is.
Mar 9th 1967 - Studio Two, 7:00pm-3:30am
GETTING BETTER Take 7
The basic take can be heard left in the stereo mix, with Paul on guitar and George Martin on pianet. The tamboura was overdubbed the next day.
Mar 10th 1967 - Studio Two, 7:00pm-4:00am
GETTING BETTER SI onto take 12
Tamboura, snare, and bass were all overdubbed to separate tracks following a tape reduction. This heavily-EQ’d track highlights the bass overdub.
Mar 13th 1967 - Studio Two, 7:00pm-2:30am
GOOD MORNING GOOD MORNING SI onto take 10
The brass overdub was performed by Sounds Inc. The backing vocals and animal noises are from later overdubs, all panned far right in the stereo mix and making them impossible to separate.
Mar 15th 1967 - Studio Two, 7:00pm-1:30am
WITHIN YOU WITHOUT YOU Take 1
The tabla and tamboura from the basic take are in the stereo left channel. This track has been adjusted down by one semitone to how it was recorded. During the final mixing it was played back at 53 cycles.
Mar 17th 1967 - Studio Two, 7:00pm-12:45am
SHE'S LEAVING HOME Take 1
Mike Leander composed the score. Both takes 1 and 6 were marked as best, but take 1 is the one they decided to use.
Mar 20th 1967 - Studio Two, 7:00pm-3:30am
SHE'S LEAVING HOME SI onto take 9
The first vocal overdub, from the multitracks.
SHE'S LEAVING HOME SI onto take 9
The second vocal overdub, from the multitracks. Note the unused low harmony part.
SHE'S LEAVING HOME Mono mix
The mono mix was done with the tape playing at 53 cycles, one semitone higher than the stereo version which wasn’t mixed until almost a month later.
Mar 21st 1967 - Studio Two, 7:00pm-2:45am
GETTING BETTER SI onto take 14
Two vocal overdubs were recorded this day but were later wiped. This is the session where John had taken some LSD by accident and ended up on the studio roof, soon to be fetched down by his bandmates. No audio available, either of the overdub or John’s acid trip.
LOVELY RITA SI onto take 11
The piano solo was recorded at 41.25 cycles, and mixed along with everything else at 48.75 cycles. This track has been lowered by 3 semitones to approximate this (and avoid doing the math!).
LOVELY RITA Mono mix
Mar 22nd 1967 - Studio Two, 7:00pm-2:15am
WITHIN YOU WITHOUT YOU SI onto take 1
According to RS the dilrubas were overdubbed at 52.5 cycles, but with the final mixdown being done at 53 cycles the dilrubas would sound on record pretty much at the same speed as they were recorded, so no speed adjustments have been made. A reduction mix was done afterwards. Strings were overdubbed two weeks later.
Mar 23rd 1967 - Studio Two, 7:00pm-3:45am
GETTING BETTER SI onto take 14
Two tracks of new vocals from Paul backed by John and George were recorded to replace the ones done two days earlier. Bass is a prior overdub from the 10th.
GETTING BETTER SI onto take 15
After still another reduction, the one freed-up track was filled with guitar, handclaps, piano and bongos, panned right in the stereo mix.
GETTING BETTER Mono mix
Mar 28th 1967 - Studio Two, 7:00pm-4:45am
GOOD MORNING GOOD MORNING SI onto take 10
John doubled and harmonized with parts of his lead vocal, isolated from the CD center channel. Paul’s lead guitar was overdubbed afterwards.
GOOD MORNING GOOD MORNING SI onto take 11
Backing vocals and Paul’s lead guitar were both recorded to track 3, but panned right and center respectively in the stereo mix.
GOOD MORNING GOOD MORNING Sound effects
The animal noises were compiled from the Abbey Road sound effects library, but not added to the tape yet.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
Harmonicas, organ and lead guitar, all overdubbed at half speed to the middle section of the song, isolated from the LOVE 5.1 mix.
Mar 29th 1967 - Studio Two, 7:00pm-5:45am
GOOD MORNING GOOD MORNING SI onto take 11
The animal noises sound effects were added to the multitrack tape at this session.
BEING FOR THE BENEFIT OF MR KITE SI onto take 9
RS only mentions the sound effects tape being dubbed in, as well as a “swirling organ†played by George Martin. However photos taken at this session show John and George playing big bass harmonicas into a microphone, with George Martin in the background at the keyboard. This must be the overdub of the intro and bits at the end of the verses, as described in RTB, but performed after the half-speed middle section. Both overdubs went onto track 3, as well as the dubbed in calliope tape at the end.
WITH A LITTLE HELP FROM MY FRIENDS Take 10
The basic take from the multis.
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Vocals from the multitrack.
Mar 30th 1967 - Studio Two, 11:00pm-7:30am
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Overdub of bass and tambourine from the multis.
WITH A LITTLE HELP FROM MY FRIENDS SI onto take 11
Backing vocals and guitar were added to the last track.
Disc 6
Mar 31st 1967 - Studio Two, 7:00pm-3:00am
WITH A LITTLE HELP FROM MY FRIENDS Mono mix
BEING FOR THE BENEFIT OF MR KITE
Excerpt of the song’s ending, to which they added an overdub of organ and glockenspiel, panned right in the stereo mix.
BEING FOR THE BENEFIT OF MR KITE Mono mix
Apr 1st 1967 - Studio One, 7:00pm-6:00am
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Take 5
The version on the Anthology CD.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Take 9
The basic take from the center channel isolation of the stereo, with some bleed-through from the later vocal overdubs.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) SI onto take 9
Vocal overdub from the stereo right channel.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) SI onto take 9
Percussion is on a separate track, heard left in the stereo mix. Vocals are ADT’d and/or doubled.
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Mono mix
Apr 3rd 1967 - Studio Two, 7:00pm-3:00am
WITHIN YOU WITHOUT YOU SI onto take 2
The strings were overdubbed onto track 3, then George added his vocals and the sitar to track 4. All are panned center in the stereo mix.
WITHIN YOU WITHOUT YOU SI onto take 2
An excerpt from the song’s middle with a slightly better isolation of the sitar overdub.
Apr 4th 1967 - Studio Two, 7:00pm-12:45am
WITHIN YOU WITHOUT YOU Mono mix edit of RM10 and RM12
Laughter edited on afterwards.
WITHIN YOU WITHOUT YOU Stereo mix edit of RS3 and RS5
Laughter edited on afterwards.
Apr 6th 1967 - Studio Two, 7:00pm-1:00am
GOOD MORNING GOOD MORNING Stereo mix RS5
Also done this day were the crossfades for the mono lp.
Apr 7th 1967 - Studio Two, 7:00pm-1:00am
WITH A LITTLE HELP FROM MY FRIENDS Stereo mix RS3
BEING FOR THE BENEFIT OF MR KITE Stereo mix RS8
FIXING A HOLE Stereo mix RS1
LUCY IN THE SKY WITH DIAMONDS Stereo mix RS5
Apr 17th 1967 - Studio Two, 7:00-10:30pm
GETTING BETTER Stereo mix RS1
SHE’S LEAVING HOME Stereo mix RS6
For the mono mix the tape had been played back at 53 cycles, speeding up everything in the process. This stereo mix was done at normal speed. Why it wasn’t done at the same speed as the mono mix is a bit of a mystery, since the following stereo mix of When I’m Sixty Four was adjusted to match its mono counterpart.
WHEN I’M SIXTY-FOUR Stereo mix RS1
LOVELY RITA Stereo mix RS2
Apr 19th 1967 - Studio Two, 7:00pm-12:30am
GOOD MORNING GOOD MORNING Mono mix RM23
Apr 20th 1967 - Studio Three, 5:00-6:15pm
SGT PEPPER’S LONELY HEARTS CLUB BAND (REPRISE) Stereo mix RS10
Apr 20th 1967 - Studio Two, 7:00pm-2:15am
ONLY A NORTHERN SONG SI onto take 3
Bass, trumpet and other sounds were overdubbed onto take 3, wiping the original vocals in the process.
ONLY A NORTHERN SONG SI onto take 11
Set 2
Set 3
Comment
magoocus compilation.
Sources
| SHNID | Date | Venue | City | State | Archive Identifier |
|---|
Created At
Mon Aug 04 2008 17:45:05 GMT+0000 (Coordinated Universal Time)
Updated At
Mon Aug 04 2008 17:45:05 GMT+0000 (Coordinated Universal Time)
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