

                                What Goes On
                     Originally Created by Michael Weiss
                 Compiled by Michael Weiss and Michael Brown
                       Version 3.01, 17th January 1994

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In February of 1992, Michael Weiss started to compile a list of sounds that
people found on Beatles recordings. When I saw the original Anomalies
List, I was most pleased that someone else had noticed that there were 
indeed some strange sounds in the work of the Beatles. Inspired by this I
listened to my entire collection of Beatles tracks in an attempt to find
more. Now, having a CD player, I am going through the process again with
the CD versions, and that extra edge that CD's give sure helps to hear some
of these obscure sounds and edits!

The results of Michael Weiss's original list, my additions, and many from 
friends and the net in general have been combined into this list.

On the 19th of August 1993, Michael Weiss handed over the compilation of the
"What Goes On" file to me, with version 2.2. Any additions, modifications, or
errors should now be sent to Michael Brown, at any of the following E-mails

Preferred: mjb@dcs.warwick.ac.uk
Alternate: csulo@csv.warwick.ac.uk
Desperate: Michael.Brown@f24.n258.z2.fidonet.org

Any contributions gratefully welcomed and acknowledged, especially details of
what mixes/media these can and can't be heard on, eg "single only","not on
stereo mix".

Notes on this version of "What Goes On"
---------------------------------------

All times, unless taken from CD's, are not 100% accurate. Because of this, 
where possible, I have included some vocal detail etc from the surrounding 
track. Please feel free to mail corrected timing details to me if you have
the CD.

Changes from the last version are marked with a '|' to the left. Quoting 
from an earlier version of the list is marked with '>'.

A brief note on "OOPS", which seems to be mentioned in the newsgroup from time
to time, and is mentioned here too. OOPS is Out Of Phase Stereo. By taking
the left and right signals from a stereo source and adding them, you get an 
ordinary mono signal. If you phase shift/invert one channel, and *then* add
them, you have an OOPSd signal. It means that any material in the centre of
the stereo image will cancel out, any material that has been panned Left
and Right, but in different phases, will add up. Best example is "Birthday".
By using OOPS, all the music (centre) disappears. All the vocals (left/right)
remain.

I use a DIY built unit to do this, as it allows me to adjust the cancellation
position to remove mroe than just the centre. You can often do it cheaply, with
no equipment by reversing one of your speaker/headphone leads to put the
sound out of phase. It doesn't work as well as doing electronically though :)
Some karaoke units have a vocal eliminator facility, this works in the same
way as most vocals are panned in the centre.

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  A Day in the Life
    1:43
      Switch click as orchestra comes in (Right)
    1:44-2:16, 3:50-4:19
      Mal Evans is heard counting the bars from 1 to 24; only about the first
      dozen are audible, starting at about three to 12
    2:18
      An alarm clock sounds to mark the end of the first 24 bars
    2:17
      Right ear - intake of breath 
    2:18-2:20
      Someone says "One" to mark the downbeat. Quieter, but audible on the CD
      is the trailing "two three four" (right)
    2:42-2:48
      Just before and after the words "had a smoke", Lennon starts talking and
      carrying on, most audibly a loud "hoooo" under the word "smoke" (Right)
    2:58
      (Left channel) sounds like a cough
    4:50-4:52
|     A chair squeaking (three creaks total). It's not paper rustling and
|     someone saying "Shhh" after all. If you listen closely it is in fact
|     just one (or maybe two) chairs squeaking.

| All Right
|     During the chorus, the voices singing are not quite together. See
|     Greatest Hits 1966-1970.

  All You Need Is Love
|   0:10
|     Nasal intake of breath. Between the lines of the song he can be heard
|     chewing gum!. Listen before the line "nothing you can make that can't
|     be made"
    0:23
      Plink of a guitar/plectrum (Left)
    0:25
      (Right channel) someone says "change [something]".  It sounds like 
      "change tapes" or something like that.
    1:19,1:23
      Two edits in the guitar tracks, right ear
|   3:15-3:18
|     Paul makes a few errors in the bass part. His speed varies all over the
|     place through this.

      As to the Paul V John debate, it is without doubt Paul that sings the 
      "Woh Yea" toward the end, much to mellow to be John. The same voice sings
      "She Loves You Yeah Yeah Yeah, She'd Love To, Yeah Yeah".

  And I Love Her
    1:08-1:17
      Loses double tracking
    2:10
|     Someone "Dum Dum Dum's" the guitar line. Michael Bain suggest Paul was
|     the culprit. I thought it was George ... :)

    2:24
      Creak, someone leaning back in a wooden chair?

  And Your Bird Can Sing
    0:02
      John/Paul takes deep breath under the cover of the intro. (Right ear)

| Anna (go to him)
|   Bass pedal squeaks through this song.

| Any Time at All
|   1:48
|     Edit in cymbals track

| Baby It's You
|     Bass pedal squeaks yet again!

  Baby's in Black
    1:30
      Bad edit, best heard in right channel, in the words "Babys in black".
      The strummed guitar appears out of nowhere here, further 'enhancing' the
      edit
    1:44
      Double tracking error :-
      John (1) says "And though he'll never come back..."
      John (2) says "But though she'll never come back..."
    2:04
      Right ear, at the very end, there is a rattling of paper.

  Being for the Benefit of Mr Kite
    1:44
      Someone either punched out or faded out the beginning of the line
     "Having been some days ..." leaving "...ving been"

  Birthday
    0:40-0:44
      Whispering between vocalists. 
    2:04-2:06
      Previous take's "dance" shows through, resulting in Paul ending up
      singing "Daaaannceee/aaaance"
    2:32 
      Laughter after the drumming stops.

  Blackbird
      Right at the very start on the White Album, someone says "play" in a high
      pitched voice.

| Chains
|   1:29
|     John - "S'at enough?"

  Come Together
|   1:27
|     Someone shouts "All right" in the background before the line "He bad
|     production" (Right ear)
|   2:01
|     Someone shouts "All" before John's "right" (Right Ear)
    2:30
|     Talking. Especially audible "Look Out!" before the line "He roller-
|     coaster"

  Day Tripper
    1:50, 1:55, 2:32
      There are two extremely noticeable dropouts near the end of the song.
      This is not on any earlier mixes of the same take, so it is quite likely
      that it happened during the mastering stage.  Other mixes show a sound 
      at 1:50 that was likely the reason for the dropout, and John's misplaced 
      "yeah" at 2:32, but one has to wonder if the cure wasn't worse than the
      illness.  This is particularly true in the 2:32 case, since one can STILL
      hear the "yeah." The drop outs at 1:50,1:55 punch the 1st and 6th notes
      of the riff clean out.

  Don't Bother Me
    0:03
      Someone (George H.?) comments about it being too fast

  Don't Pass Me By
    0:07
      Right channel, someone shouts something
    1:45
      Most strangely, an alarm bell goes off in the middle of "unfair" (Left)
    2:31-2:37
      Someone (likely Ringo) sings out the beats from one to eight, and then
      shouts "ooop". At the same time John says (Right channel) "Give it some
      more!" (Level ? More of the song ?)
    2:39
      (Left channel) Someone shouts something
 
  Eleanor Rigby
    0:14
      The double tracking is not brought down fast enough after the end of the
      second "Ahhh, look at all the lonely people" in the introduction.  It
      continues until the second syllable of "Eleanor."  The bad mixing of the
      double tracking continues throughout the rest of the song, every time 
      there is a transition from single to double or vice versa.
    1:29
      (Left channel) click

  Everybody's Got Something To Hide Except for Me and My Monkey
    1:02
      Various shouts (left channel)

  From Me To You
      Ringo's bass drum pedal squeaks. (left)

  Get Back
      Introduced, at least on Capitol mix, by John's "Sweet Loretta Fart she
      thought she was a cleaner","but she was a frying pan". There is also
      Paul singing "Rosetta...", John's "Great, picks for the fingers" and
      a quiet 1-2-1234 count in, a "Get In!" and a "Level John!"

      Outroduced (!) with a policeman (from the "on the roof" session) saying
      "I'm afraid its just too long", telling them to wind up the gig.

  Getting Better
    0:00-0:02
      Someone gives a count in for the vocals. Other talking.
    0:28
      (Right) Edit in the word "Bett/ter"
    0:34
      (Right) Someone shouts "Better" under Paul's vocals
    0:43-0:44
      (Right channel) whistle
    0:56
      Paul makes a verbal slip, "And you're doing the best that I can"  
|   1:04
|     Sound (same as 1:26)
    1:07
      Piano and cymbal/hi hat do a "double skip", as if a faulty edit. Doesn't
      sound intentional.
    1:26
|     Sound (right). Coming from the guitar, possibly a faulty amp/cable

  Girl
    0:59
      (Right channel) Someone (John?) coaches "tit tit tit."
    1:53
      Sound of guitar being put down/picked up ?

  Good Day Sunshine
    0:07
      Cymbals come in suddenly, rather than a complete fade-in.
    1:26
>     Someone (John? Ringo?) repeats "she feels good."  This appears to trigger
>     something closely approximating a chuckle from Paul in the next line.
      Listening closely on the CD, it sounds like Ringo saying "She f**ing 
      does". The last word is definitely not "good", very likely "does"

    1:33
      Bad edit in piano track (right ear)
    1:58
      Cut to four vocal tracks is abrupt.

  Good Morning, Good Morning
    0:06
      "Hah!" (left ear)
    0:16
      Edit in vocals, made audible by a cut off deep breath.

    Throughout the song, the right channel contains soft drum beats, ostensibly
    used to direct the brass instruments.  There are also hand claps.

    2:33
      Where the "Good Morning" vocals fade out,there is an audible click as 
      the vocals/brass stop. Just before this a voice, very quiet, says "Turn
      it off" (Right ear)

  Got to Get You Into My Life
    0:03 to 0:06
      Talking (Paul?) during intro. (Left)
    1:44
      Strange guitar sound. (Centre)

  Happiness is a Warm Gun
    0:57
      The mixers brought up a track too quickly.  Originally, John sang the "I
      need a fix" line twice, but the first was supposed to be left out in 
      the release.  The end of the first "down," though, ended up on the master
    1:32
      High pitched titter from the "female" backing voices. Caught unawares by
      an early drop in?
    2:21
      Print-through of the word "Gun".

  Help
      The mono version has the intro spliced on. The vocals differ between the
      mono and stereo mixes.

  Helter Skelter
    0:31, 1:43
      Squeaks
    0:50
      Bottle rattles for about two seconds.
    2:29
      Paul sings "Yes she is, coming down fast" and then (closer to the mike)
      "Can you hear me speaking? Whoooo"
    2:49-3:09
      Paul sings "Can you hear that silly bugger...Neeee..."
      then says "Come here son, I saw you do that you little bugger...
      Get yer bloody hands on your head, c'mon". Hard to hear, again OOPS 
      helps to remove the loud guitar part that masks this.
      The "blistery shout" seems to be prompted, again it could be printthrough
      as you hear "hahaha <Ive got> IVE GOT BLISTERS ..."

  Here Comes the Sun
    0:35
      George H. hits the guitar body to mark the unplayed beats, a la Help!

  Here, There and Everywhere
    0:10
      Edit between intro piece and "here", the tape drops out. (Left) 
    0:19
      Right channel, "changing / my life" have two different sounds to them.
      Edit between two takes?
    1:06
      At the end of guitar section, under the word "her", is a fwip.
    1:10,1:45
      Between the words "everywhere" and "knowing that love..." is an audible
      'fwip' of a punch in. (left)

  Her Majesty
    0:03
      (left channel) A female, vibrato voice sings a note, or possibly a sped
      up male voice.

  Hey Bulldog
    1:04
      Sharp edit in the guitar track, cutting in after "talk to me" and
      ending at 1:32
    ??:??
      Lennon sings "Big Man", and in the left ear Ringo shouts "Yes?"
    2:06-3:04
      The book "The Beatles Lyrics" has the words wrong to the ending.
      Most interesting, they don't include the John/Paul dialogue :-
      P) "Do you know any more?"
      J) "Wowowowwwaaaaa"
      J) Screams loudly
      P) "You got it, great, you hit it, that's it man, Woop!, that's it
         you got it"
      J) Screams hysterically
      P) "Don't look at me man, I already have [ten children   grandchildren]"
      P) "Clap man, clap"
      J) "Okay"
      P) "Clap!"

  Hey Jude
      The Lewisohn reference to an "undeleted expletive" :-
      John gets the vocals line in a muddle, crossing the first and second
      verse vocals to form :-
 
      Paul: Remember to let her under your skin
      John: Remember to let her into your skin
 
      In anger, the next line then becomes
 
      Paul:        Then you  beeeegiin       to make it better
      John: Ohhhhh           F**king Hell    to make it better
 

  I Feel Fine
      Capitol remix opens with drumstick clicks, and John saying "It's not
      enough"
    0:06
      Cough (left ear). 
    0:12-0:14
      Snares on the drum kit resonate to the sound of the guitar amps, before
      the drums come in

  If I Fell
    1:45
      I wasn't sure if I should consider this to be in the list, but it's been
      brought to my attention several times, so here it is.  Paul's voice
      cracks on the word "vain."
      Mono version eliminates this by editing in a chorus from earlier in the
      song.

| I'll cry instead
|   0:04 to 1:40
|     Constant click click click, not in time with the rhythm (every 0.62 sec)

  I'll Get You
    1:13
      John sings "Well, there's gonna be a time when I'm gonna make you mine."
      Paul sings "Well, there's gonna be a time when I'll make you change your
      mind"

  I'm looking through you
    0:04
      Paul tries out the song "Where did you go, Where did you go"
    1:41-1:42
      Two clicks (centre)

  I'm so tired
    1:05
      Under the word "so" in "I'm so tired" there is a strange vocal/instrument
      sound.

| I saw her standing there
|   1:29
|     John - "When I saw her standing there"
|     Paul - "Till I saw her standing there"
|   2:26
|     Paul - "Now I'll never dance with another"
|     John - "H-i wouldn't dance with another" (From "How could+I wouldnt",
|                                               both of which were wrong!)

  I Should Have Known Better
    0:06
      Harmonica drops out for a bit.  Sounds to me more like running out of
      breath than bad mixing. (Not on MONO CD version)
    2:01
      Double Tracking lost here
    2:17
      Bad edit between "love me to-oo-o, oh../And when I"
    2:20
      Double Tracking regained, on the words "mine, ah-ha-hine"

  I Wanna hold your hand
    1:22
      John, as ever, forgets the vocals, and adlibs "balum-a-lumba Haaand"
 

  I Want You (She's So Heavy)
|   2:21
|     George flicks his pick up selector to change the tone of the guitar.
|   3:42
|     (Center) click/edit? (Maybe a switch being operated)
    4:28
|     Distortion in John's "Yeeah", prompting someone (in the control room ?)
|     to yell at him. Sounds like Paul to me, and Michael Bain agreed on this.
|   4:32
|     (Left channel) "Turn it down man/mal or Quiet down!"  This is likely due
|     to the distortion at 4:28
|   4:34 
|     Faint "Yeaah" (Couldn't be print-through, too far away from 4:28)

  I will
      Starts with a click. Maybe Ringo tapped out the count in, and it couldn't
      be trimmed without cutting into the "Who" at the start of the song.

  Julia
    0:14
      John is a bit late coming in on the "Julia" line.  Is this him, or was 
      it a mixing error?

  Let It Be
|   0:00,0:09
|     Drumstick clicks (Album version only)  
    1:07
      After the words "For though they may be parted," there is a whisper that
      I cannot make out on the right channel.  Single version only.

  Long Long Long
    2:31-2:56
      A bottle rattles on one of the speakers. Sounds like a coin being spun
      on a table

  Lovely Rita
    0:21,0:23
      John sings as an aside "Aah, Paul" under the main lyric
    0:33
      In the right ear, after "your heart awaaay" <fwip> "Standing..."
    2:11
      Edit in tape/click to join on the ending (Left)
    2:38
      Ringo shouts "You'd better believe it" or "They'll never believe it"
      in the very final moments of the song.

  Lucy in the Sky With Diamonds

    0:13
      Left, click
    0:45
      Cough ?
    0:50
      Guitar breaks through on right channel just before the "Lucy .."
    1:32
      John sings "grows so incredibly high", and a much delayed "igh" is heard
      Was this from a previous take?
    1:53-1:56
      Lead guitar drops out (Right)

> 2:34
>   Paul sings harmony on the "Lu" syllable in "Lucy"; he was supposed to sing
>   in tandem with John, and corrects himself by the second syllable.
 
      I do not think that it is John singing here at all. It is actually Paul
      double tracking himself. John sings the "Aaahhh" at the end of the 
      phrase. The matching of the two voices is too perfect to be John/Paul

    3:08
      Printthrough of "Aaah" audible on right channel

  Martha My Dear
    1:01
      Strange overlap of the words "Take a good", maybe overlap of two takes or
      an on the fly editing job. Sounds like an "Elvis" style echo!

  Maxwells Silver Hammer
      During the line "Writing fifty times I must not be so" Paul laughs. 
      I think someone in the background is distracting him.
 
  Michelle
    3:28
      Left ear - cough

  No Reply
    0:13
      Between "your window" and "I saw the light" there is a cough and some
      speech (Right channel)
    0:33-0:34
      Loss of tape reverb on the words "telephone" to "were no home"

  Ob-La-Di Ob-La-Da
    0:02
      Paul says "remember to step it up, John," then coughs, then hums a few
      notes to hit it right. Best heard when this track is OOPS'd. Laughter
      and joking by the other Beatles too.
    0:10
      Clap to mark the start of vocal track.
    ???:???
      In the words "Life goes on, bra / La la how the" there is a vocal punch
      in, marked by an audible tweet just after. This is a by-product of the
      two separate erasing operations, causing an audible sound.  
    1:08, 1:17
      Three clicks at each of the two points
    1:18
      John says "home", in referrence to the following line.
    1:42
      After the line "lets the children lend a hand", the first time George
      says "arm", John says "leg"
    2:13
      John says and spells out "home" at 2:13.
    2:33
      After the line "lets the children lend a hand", the second time John says
      "foot".

  Oh Darling
    2:48
      Repeat of the end of the word "Darling"

  Paperback Writer
    0:57
      (Right channel) sounds like a cough and tambourine rattle
    1:20
      Somebody manages to forget to come in with the harmony until literally
      one second too late on the "Frere Jacques." (Right channel)  Likely John.
    1:45
      Right channel again, someone clears his throat, and then a couple of 
      quiet tries at the correct notes before singing "Paperback Writer."

| Penny Lane
|   1:19-1:21
|     Crescendoing microphone feedback, similiar to at the end of the song
|     but most likely an error
|   2:04
|     Two bar passage of double bass, under the lines "banker sitting waiting
|     for a trim". Was this a mixing decision (only to put double bass there,
|     i.e. it could have been throughout the song), or was it recorded like
|     that?.

  Piggies
    1:53
      Print-through of "One more time"

  Please Please Me
|   1:08
|     John sings "rain in my heart". Backing singers  "try out" note for 
|     harmony, giving "Mmm....in my heart". Mono and stereo versions
    1:27
      John sings "Why do you never even try, girl?"
      Paul sings "I know you never even try, girl."
      John, apparently realizing his mistake, chuckles out his next "come on."
      Stereo Version only.
|   1:45 Mono version
|     Dip out in level, as end is edited on.
|   1:45 Stereo version
|     Same edit as above, but badly done. Timing goes out with introduction of
|     harmonica edit piece. Edit piece is slower than the left (rhythm) channel
|     and catches up in time for the last three chords.

 Polythene Pam

|   0:07
|     Click (Left)
|   0:08
|     Click and apparent drop in or somesuch of the word "Pam", just before
|     John sings it for real.
    0:41
     (Left channel) Someone yells "Yeah!"
    0:45
      (Right channel) Someone picks up the maraca.
    0:55-1:04
      (Left channel) Counting measures from 4 to 7.  This sounds like the same
      voice as at 0:41.
|   See also She Came in Through the Bathroom Window, 0:00

  Revolution Number 1
      Most certainly not "Take 18" punched into the tape (Lewisohn). Sounds
      much more likely to be "aah, Take Two". 

  Revolution Number 9
      Lewisohn, and other lyrics books show the lyrics as "Brother can you
      take me back ...". It sounds more like "Robert, can you take me ..."
      Also the mixer used to mix this track has a "scratchy" pan control. You
      can hear this 53 to 58 seconds after the first piano note and at 1:27 to
      1:46 after.

  Rock and Roll Music
    2:19
      John sings "oughta got rock and roll music" instead of "gotta be..."

| Roll over Beethoven
|   0:00-0:10
|     Messed up guitar intro. Listen to Berry's original, and then this one

  Savoy Truffle
      After "You'll have to have them all pulled out" and before "You might
      not" there are assorted purring and cooing noises in the left channel

  Sgt Pepper's Lonely Hearts Club Band 
    0:09-0:10
      "Roll over boys / Roll over Maurice", heavily reverbed, just before
      vocals start.
    0:26
      Drum beat under the word "play" is cut short, possible edit?
    1:46
      Left channel, the clapping fades down and straight back up. I think
      this may have been because there was not enough clapping to fill the
      space required

  Sgt Pepper's Lonely Hearts Club Band (Repriese)
      In the introduction, John says "Look up, Byeee". An increase in hum is
      heard just before this as the faders open.
|   0:10-0:15
|     Someone says "Winston" on the double bass drum beat. Followed by a
|     half awake "Haah?" from Lennon. Paul sings something high pitched,
|     sounds like "Pussy cat".
    1:15-1:17
      After Paul's "Wooo", John says "Paul, hold my guitar for me". Heard
      using OOPS.

| She Came in Through the Bathroom Window
|   0:00
|     John says "We'll listen to that now", probably in reference to the
|     previous track (Polythene Pam).

  She Loves You
    1:23-1:30
      Bad edit right after the line "I think it's only fair"...even the cymbals
      sound different.  The drop in ends after the line "Because she loves 
      you". Not audible in Capitol Remix.
    1:43 to end
      Bad edit, this may only be in the Capitol "Beatles 1962-1966" Album
      The harmonica goes out of time, and the vocals suddenly double track
      (Left ear)

  She Said She Said
    1:37
      "What I've Said" <I want the ...> "I said no no ..." (Right)

  She's a Woman
    1:25
      Rhythm guitar drops out for one beat
|   Third Verse
|     Guitarist playing the "up"beat strokes misses a chord change.
|
|       I             IV      I
|	My love don't give me presents
|       I            IV      I
|       I know that she's no peasant
|       I*        IV
|       Only ever has to give me ....
|
|    Where I* should be the IV chord. The rest of the group change, but he
|    doesn't!

  She's leaving home
    0:13-0:14
      Deep breath from Paul
    1:24,1:28,1:29:2:45
      Switches being operated?

  Slow Down
    1:15
      One sings "Now you've got a boyfriend down the street".
      Another sings "girlfriend," and seems to stumble over the "down the 
      street" part.

  Strawberry Fields Forever
    0:59
      Perhaps the most famous Beatles edit ever.  In fact, it is actually two
      edits.  The famous one is between take 7 and take 26.  Take 7 was slower
      and a semitone lower in key.  The two were edited together right between
      the words "'cause I'm" and "going to".  The less known edit occurs right
      before the words "Let me take you down".  It's also less noticeable.
      The edit can be heard clearly by listening to the drums and mellotron on
      the left. The drums go very dead, and the mellotron stops. At the same 
      time on the right, the orchestra appears from nowhere.
    1:17, 2:01
      Counting from one to four
    3:27-4:05
      Left channel, lots of talking, sounds like directions of sorts.
    3:57, 4:03
>     John mutters the famous "Cranberry Sauce" twice, followed by "My mother
>     made it for me."  Paul is dead fanatics insist that what John really says
>     is "I Buried Paul," but that somehow doesn't go with "My mother made it
>     for me."  Note that "My mother..." cannot be heard on any released 
>     version.

|     Can someone enlighten me as to where it *can* be heard?? (Bootlegs?)

>     The song fades out in all cases before the end of the second "Cranberry
>     Sauce."  The German release of Magical Mystery Tour fades out later than
>     other releases (and so, therefore, does the CD), but still too soon to
>     hear the "My mother..." statement.

      Listen to the bootleg versions, they carry both "cranberrys" plus lots
      of shouting from John to Ringo, "What are you playing it","Alright Calm
      down ringo"
      Frank Daniels is sure that he hears "I'm very hoarse" instead of the
      claimed "Cranberry Sauce" (German Version). He also mentions the morse
      code, supposedly "J.L.". Can any "morse-proficient" person check this,
      as I feel this is incorrect (Like the cover to Help, which doesn't say
      "Help" in semaphore!)

  Taxman
    0:03
      Left channel, "One for you 19 for me <cough> 1-2-3-4"
    0:35-0:37,0:42-0:44
      Right channel drops out
    1:38,1:45
      "Ah ah Mr Wilson/Heath" dropped into lead guitar track (!) with audible
      clicks

  Tell me what you see
      Paul tries out the initial line "If you let, If you let" before the song
      starts proper. Also the hissing of a revolving Lesley can be heard.

  Tell me why
    1:42
      Edit, or dropout, between "so in love with you/Tell me why". The level
      seems to drop sharply, and come in a little late ...

  The Continuing Story of Bungalow Bill
    0:14
      After the line "what did you kill..." Ringo says "I'll tell you"
    0:35, 1:12, 1:49
      Punch-ins at the end of each guitar/banjo bridge, before the chorus.
    3:04
      Print-through of the "Eh-up". Possibly prompting from another Beatle?
  
  The End
    0:28
      Someone counts "6," counting the measures of the drum solo.

  The Word
      The harmonies for this are "flown in" from a separate tape. Listen 
      carefully and you will hear "Say the ..." and then the "wwwwooordd"
      slews up to speed.

  This Boy
    1:27
      Bad edit right after the line "'Till he's seen you cryyy" in the chorus.

  Tomorrow Never Knows
    0:52
      ADT drops out early, leaving "It is being, It is" in the right ear. At
      the same moment the organ sound stops.
    1:28
      Feedback from Leslie speaker. (Right, during "Love is all and love is")

  Twist 'n' Shout
    1:25
      Careful study of Paul's first "aaah" will show that half way through the
      pitch flattens slightly. This is possibly an edit between two takes.
      Audible on the Please Please Me CD, and maybe others?
|   2:27
|     "Aaay" during last chord (Paul?)

  What Goes On
    1:11
      (Left channel) someone says something
    1:35-1:54 especially loud at 1:46-1:53
      Ringo hums the melody during the middle eight.  This left Joe Brennan
      wondering how many songs Ringo hummed during, though without a mic.
    1:28
      (Left channel)
      John says "TELL me why."  It's possible that John says "I already TOLD
      you why;" if so, "I already" is too faint to hear, but the inflection is 
      too unclear for me to state it conclusively.
    2:36-2:40
      Ringo sings "in your mind" twice at the end of the song.

  When I'm Sixty-Four
    0:38-0:42
      Bass Pedal can be heard to squeak
    1:04, 2:00
      Paul sings "um um" along with the other instruments, emphasizing the 
      beat.
    1:55
      Faint piano notes
    2:28
      Edit in vocals track, "When I'm sixty four/ye  Hoo!"
    2:37
      Faint whistle at the end of the track.

  Why Don't We Do It In The Road
    0:01
      Squeak during drum intro.
    0:17, 0:27
      Someone (Ringo?) says "yeah"

  With a little help from my friends
    0:00-0:02
      Centre, loud tweets during the word "Billy"
    0:08
      Noticeable increase in mains hum as the fader opens for Ringo's vocal
      (Right channel)
    2:04
      Right channel, crackles in bass line (bad lead/connector?)
    2:29
      Ringo admits that he wasn't confident about that high note at the end.
      Here you can hear an edit to join on a successful attempt at the last
      phrase, beginning with the words "Ye/es I get by with-a-little-help-from
      my friends with-a-little ..."

  Within You Without You
    3:41-3:47
      George is singing along as (he?) plays the drum part, with an audible
      "Da da da da, two .. We were"

  Words of Love
    0:59-1:04
      Possible edit or drop-in in guitar track (Left channel).
      Ringo's bass drum squeaks through this one, too. (Left channel)

  Yellow Submarine
    1:04
      "And the band begins to play" ... They certainly do, but one of the
      trumpeters decides to put in a little trill ahead of cue!
    1:51
      The backing vocals come in a line and a half late in verse 3

  Yer Blues
    1:05-1:08, 1:20, 1:26, 1:49
      Feedback
    1:31-1:40, 2:00-2:07
      Someone shouts out lyrics behind John's singing
    2:25-2:27
      (Left channel) yells
    2:29-3:16
      (Left channel) faint guitar
    3:16
      The supposed "instrumental" verse at the end has some bleedover from the
      vocals of another track.  This segment was spliced in from another take,
      according to Lewisohn.  The edit can be heard in a clipped guitar note.

  Yesterday
    0:19
      During the word "believe" there is a squeak, sounds like from a violin 
      string. (Left channel)

| You Know My Name (Look Up The Number)
|   4:10
|     At the start of John's incoherent mumbling, someone belches.

  You Like Me Too Much
    0:00-0:08
      Scratching sound of the Leslie speaker revolving
    0:08
      Click of the Leslie speaker turning off

  You Never Give Me Your Money
    0:14
      Piano notes
    0:29
      Breath is taken
    3:08
      Someone picks up a tambourine
    3:46-3:56
|     Talking and guitar playing. Specifically 3:52, what does John sing
|     after "1-2-3-4-5-6-7 ...". It's not "All good children go to heaven".
|     Could be "Bloody 'ell".

| You Really got a hold on me
|   0:25
|     Unsmooth switch to a different take, unlike the switch at 1:00

  You Won't See Me
    0:02
      Cough
|   3:16
|     Double Click (Left channel)

-----------------------------------------------------------------------------

I'm sure there are many others.  If you happen to hear any, let me know!
Michael Brown (mjb@dcs.warwick.ac.uk)

Thanks to those who contributed to this list:

Matthew Rupert    Michael Bain   Bill W at Uni. Pittsburgh
Gene Schroeder    Robert Berry   Joseph S. Dalfonso
Jay Smith         Greg O'Rear    Doug Campbell
Frank Daniels     Steve Barclay  Preston Landers
Michael Lane      Andrew Walker

Special thanks to:

Saki
Joe Brennan
Andy Van Pelt

And now, a word from our legal department:

Copyright  (c)  1993,1994  Michael Brown, all rights reserved except the 
following:

This document may be reproduced in part or in full, by any means, provided the
first lines up to and excluding the line beginning "Category 1," and the last
lines beginning with and including the line beginning "I'm sure there are many
others," including this copyright notice, are all included.  Any reproduction
that is not a complete document must be labeled as such before distribution.
Any changes made to the document must be labeled as portions exclusive of this
document in a fashion so as to make clear that the author of those portions is
NOT the author of this document, and/or must be approved as a written revision
from the author of this document.  No monetary compensation, short of cost of
materials and distribution, may be charged for any means of distribution.

<end>

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Subject: What Goes On - Latest Version
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                                What Goes On
                     Originally Created by Michael Weiss
                 Compiled by Michael Weiss and Michael Brown
                       Version 3.01, 17th January 1994

-----------------------------------------------------------------------------

In February of 1992, Michael Weiss started to compile a list of sounds that
people found on Beatles recordings. When I saw the original Anomalies
List, I was most pleased that someone else had noticed that there were 
indeed some strange sounds in the work of the Beatles. Inspired by this I
listened to my entire collection of Beatles tracks in an attempt to find
more. Now, having a CD player, I am going through the process again with
the CD versions, and that extra edge that CD's give sure helps to hear some
of these obscure sounds and edits!

The results of Michael Weiss's original list, my additions, and many from 
friends and the net in general have been combined into this list.

On the 19th of August 1993, Michael Weiss handed over the compilation of the
"What Goes On" file to me, with version 2.2. Any additions, modifications, or
errors should now be sent to Michael Brown, at any of the following E-mails

Preferred: mjb@dcs.warwick.ac.uk
Alternate: csulo@csv.warwick.ac.uk
Desperate: Michael.Brown@f24.n258.z2.fidonet.org

Any contributions gratefully welcomed and acknowledged, especially details of
what mixes/media these can and can't be heard on, eg "single only","not on
stereo mix".

Notes on this version of "What Goes On"
---------------------------------------

All times, unless taken from CD's, are not 100% accurate. Because of this, 
where possible, I have included some vocal detail etc from the surrounding 
track. Please feel free to mail corrected timing details to me if you have
the CD.

Changes from the last version are marked with a '|' to the left. Quoting 
from an earlier version of the list is marked with '>'.

A brief note on "OOPS", which seems to be mentioned in the newsgroup from time
to time, and is mentioned here too. OOPS is Out Of Phase Stereo. By taking
the left and right signals from a stereo source and adding them, you get an 
ordinary mono signal. If you phase shift/invert one channel, and *then* add
them, you have an OOPSd signal. It means that any material in the centre of
the stereo image will cancel out, any material that has been panned Left
and Right, but in different phases, will add up. Best example is "Birthday".
By using OOPS, all the music (centre) disappears. All the vocals (left/right)
remain.

I use a DIY built unit to do this, as it allows me to adjust the cancellation
position to remove mroe than just the centre. You can often do it cheaply, with
no equipment by reversing one of your speaker/headphone leads to put the
sound out of phase. It doesn't work as well as doing electronically though :)
Some karaoke units have a vocal eliminator facility, this works in the same
way as most vocals are panned in the centre.

-----------------------------------------------------------------------------

  A Day in the Life
    1:43
      Switch click as orchestra comes in (Right)
    1:44-2:16, 3:50-4:19
      Mal Evans is heard counting the bars from 1 to 24; only about the first
      dozen are audible, starting at about three to 12
    2:18
      An alarm clock sounds to mark the end of the first 24 bars
    2:17
      Right ear - intake of breath 
    2:18-2:20
      Someone says "One" to mark the downbeat. Quieter, but audible on the CD
      is the trailing "two three four" (right)
    2:42-2:48
      Just before and after the words "had a smoke", Lennon starts talking and
      carrying on, most audibly a loud "hoooo" under the word "smoke" (Right)
    2:58
      (Left channel) sounds like a cough
    4:50-4:52
|     A chair squeaking (three creaks total). It's not paper rustling and
|     someone saying "Shhh" after all. If you listen closely it is in fact
|     just one (or maybe two) chairs squeaking.

| All Right
|     During the chorus, the voices singing are not quite together. See
|     Greatest Hits 1966-1970.

  All You Need Is Love
|   0:10
|     Nasal intake of breath. Between the lines of the song he can be heard
|     chewing gum!. Listen before the line "nothing you can make that can't
|     be made"
    0:23
      Plink of a guitar/plectrum (Left)
    0:25
      (Right channel) someone says "change [something]".  It sounds like 
      "change tapes" or something like that.
    1:19,1:23
      Two edits in the guitar tracks, right ear
|   3:15-3:18
|     Paul makes a few errors in the bass part. His speed varies all over the
|     place through this.

      As to the Paul V John debate, it is without doubt Paul that sings the 
      "Woh Yea" toward the end, much to mellow to be John. The same voice sings
      "She Loves You Yeah Yeah Yeah, She'd Love To, Yeah Yeah".

  And I Love Her
    1:08-1:17
      Loses double tracking
    2:10
|     Someone "Dum Dum Dum's" the guitar line. Michael Bain suggest Paul was
|     the culprit. I thought it was George ... :)

    2:24
      Creak, someone leaning back in a wooden chair?

  And Your Bird Can Sing
    0:02
      John/Paul takes deep breath under the cover of the intro. (Right ear)

| Anna (go to him)
|   Bass pedal squeaks through this song.

| Any Time at All
|   1:48
|     Edit in cymbals track

| Baby It's You
|     Bass pedal squeaks yet again!

  Baby's in Black
    1:30
      Bad edit, best heard in right channel, in the words "Babys in black".
      The strummed guitar appears out of nowhere here, further 'enhancing' the
      edit
    1:44
      Double tracking error :-
      John (1) says "And though he'll never come back..."
      John (2) says "But though she'll never come back..."
    2:04
      Right ear, at the very end, there is a rattling of paper.

  Being for the Benefit of Mr Kite
    1:44
      Someone either punched out or faded out the beginning of the line
     "Having been some days ..." leaving "...ving been"

  Birthday
    0:40-0:44
      Whispering between vocalists. 
    2:04-2:06
      Previous take's "dance" shows through, resulting in Paul ending up
      singing "Daaaannceee/aaaance"
    2:32 
      Laughter after the drumming stops.

  Blackbird
      Right at the very start on the White Album, someone says "play" in a high
      pitched voice.

| Chains
|   1:29
|     John - "S'at enough?"

  Come Together
|   1:27
|     Someone shouts "All right" in the background before the line "He bad
|     production" (Right ear)
|   2:01
|     Someone shouts "All" before John's "right" (Right Ear)
    2:30
|     Talking. Especially audible "Look Out!" before the line "He roller-
|     coaster"

  Day Tripper
    1:50, 1:55, 2:32
      There are two extremely noticeable dropouts near the end of the song.
      This is not on any earlier mixes of the same take, so it is quite likely
      that it happened during the mastering stage.  Other mixes show a sound 
      at 1:50 that was likely the reason for the dropout, and John's misplaced 
      "yeah" at 2:32, but one has to wonder if the cure wasn't worse than the
      illness.  This is particularly true in the 2:32 case, since one can STILL
      hear the "yeah." The drop outs at 1:50,1:55 punch the 1st and 6th notes
      of the riff clean out.

  Don't Bother Me
    0:03
      Someone (George H.?) comments about it being too fast

  Don't Pass Me By
    0:07
      Right channel, someone shouts something
    1:45
      Most strangely, an alarm bell goes off in the middle of "unfair" (Left)
    2:31-2:37
      Someone (likely Ringo) sings out the beats from one to eight, and then
      shouts "ooop". At the same time John says (Right channel) "Give it some
      more!" (Level ? More of the song ?)
    2:39
      (Left channel) Someone shouts something
 
  Eleanor Rigby
    0:14
      The double tracking is not brought down fast enough after the end of the
      second "Ahhh, look at all the lonely people" in the introduction.  It
      continues until the second syllable of "Eleanor."  The bad mixing of the
      double tracking continues throughout the rest of the song, every time 
      there is a transition from single to double or vice versa.
    1:29
      (Left channel) click

  Everybody's Got Something To Hide Except for Me and My Monkey
    1:02
      Various shouts (left channel)

  From Me To You
      Ringo's bass drum pedal squeaks. (left)

  Get Back
      Introduced, at least on Capitol mix, by John's "Sweet Loretta Fart she
      thought she was a cleaner","but she was a frying pan". There is also
      Paul singing "Rosetta...", John's "Great, picks for the fingers" and
      a quiet 1-2-1234 count in, a "Get In!" and a "Level John!"

      Outroduced (!) with a policeman (from the "on the roof" session) saying
      "I'm afraid its just too long", telling them to wind up the gig.

  Getting Better
    0:00-0:02
      Someone gives a count in for the vocals. Other talking.
    0:28
      (Right) Edit in the word "Bett/ter"
    0:34
      (Right) Someone shouts "Better" under Paul's vocals
    0:43-0:44
      (Right channel) whistle
    0:56
      Paul makes a verbal slip, "And you're doing the best that I can"  
|   1:04
|     Sound (same as 1:26)
    1:07
      Piano and cymbal/hi hat do a "double skip", as if a faulty edit. Doesn't
      sound intentional.
    1:26
|     Sound (right). Coming from the guitar, possibly a faulty amp/cable

  Girl
    0:59
      (Right channel) Someone (John?) coaches "tit tit tit."
    1:53
      Sound of guitar being put down/picked up ?

  Good Day Sunshine
    0:07
      Cymbals come in suddenly, rather than a complete fade-in.
    1:26
>     Someone (John? Ringo?) repeats "she feels good."  This appears to trigger
>     something closely approximating a chuckle from Paul in the next line.
      Listening closely on the CD, it sounds like Ringo saying "She f**ing 
      does". The last word is definitely not "good", very likely "does"

    1:33
      Bad edit in piano track (right ear)
    1:58
      Cut to four vocal tracks is abrupt.

  Good Morning, Good Morning
    0:06
      "Hah!" (left ear)
    0:16
      Edit in vocals, made audible by a cut off deep breath.

    Throughout the song, the right channel contains soft drum beats, ostensibly
    used to direct the brass instruments.  There are also hand claps.

    2:33
      Where the "Good Morning" vocals fade out,there is an audible click as 
      the vocals/brass stop. Just before this a voice, very quiet, says "Turn
      it off" (Right ear)

  Got to Get You Into My Life
    0:03 to 0:06
      Talking (Paul?) during intro. (Left)
    1:44
      Strange guitar sound. (Centre)

  Happiness is a Warm Gun
    0:57
      The mixers brought up a track too quickly.  Originally, John sang the "I
      need a fix" line twice, but the first was supposed to be left out in 
      the release.  The end of the first "down," though, ended up on the master
    1:32
      High pitched titter from the "female" backing voices. Caught unawares by
      an early drop in?
    2:21
      Print-through of the word "Gun".

  Help
      The mono version has the intro spliced on. The vocals differ between the
      mono and stereo mixes.

  Helter Skelter
    0:31, 1:43
      Squeaks
    0:50
      Bottle rattles for about two seconds.
    2:29
      Paul sings "Yes she is, coming down fast" and then (closer to the mike)
      "Can you hear me speaking? Whoooo"
    2:49-3:09
      Paul sings "Can you hear that silly bugger...Neeee..."
      then says "Come here son, I saw you do that you little bugger...
      Get yer bloody hands on your head, c'mon". Hard to hear, again OOPS 
      helps to remove the loud guitar part that masks this.
      The "blistery shout" seems to be prompted, again it could be printthrough
      as you hear "hahaha <Ive got> IVE GOT BLISTERS ..."

  Here Comes the Sun
    0:35
      George H. hits the guitar body to mark the unplayed beats, a la Help!

  Here, There and Everywhere
    0:10
      Edit between intro piece and "here", the tape drops out. (Left) 
    0:19
      Right channel, "changing / my life" have two different sounds to them.
      Edit between two takes?
    1:06
      At the end of guitar section, under the word "her", is a fwip.
    1:10,1:45
      Between the words "everywhere" and "knowing that love..." is an audible
      'fwip' of a punch in. (left)

  Her Majesty
    0:03
      (left channel) A female, vibrato voice sings a note, or possibly a sped
      up male voice.

  Hey Bulldog
    1:04
      Sharp edit in the guitar track, cutting in after "talk to me" and
      ending at 1:32
    ??:??
      Lennon sings "Big Man", and in the left ear Ringo shouts "Yes?"
    2:06-3:04
      The book "The Beatles Lyrics" has the words wrong to the ending.
      Most interesting, they don't include the John/Paul dialogue :-
      P) "Do you know any more?"
      J) "Wowowowwwaaaaa"
      J) Screams loudly
      P) "You got it, great, you hit it, that's it man, Woop!, that's it
         you got it"
      J) Screams hysterically
      P) "Don't look at me man, I already have [ten children   grandchildren]"
      P) "Clap man, clap"
      J) "Okay"
      P) "Clap!"

  Hey Jude
      The Lewisohn reference to an "undeleted expletive" :-
      John gets the vocals line in a muddle, crossing the first and second
      verse vocals to form :-
 
      Paul: Remember to let her under your skin
      John: Remember to let her into your skin
 
      In anger, the next line then becomes
 
      Paul:        Then you  beeeegiin       to make it better
      John: Ohhhhh           F**king Hell    to make it better
 

  I Feel Fine
      Capitol remix opens with drumstick clicks, and John saying "It's not
      enough"
    0:06
      Cough (left ear). 
    0:12-0:14
      Snares on the drum kit resonate to the sound of the guitar amps, before
      the drums come in

  If I Fell
    1:45
      I wasn't sure if I should consider this to be in the list, but it's been
      brought to my attention several times, so here it is.  Paul's voice
      cracks on the word "vain."
      Mono version eliminates this by editing in a chorus from earlier in the
      song.

| I'll cry instead
|   0:04 to 1:40
|     Constant click click click, not in time with the rhythm (every 0.62 sec)

  I'll Get You
    1:13
      John sings "Well, there's gonna be a time when I'm gonna make you mine."
      Paul sings "Well, there's gonna be a time when I'll make you change your
      mind"

  I'm looking through you
    0:04
      Paul tries out the song "Where did you go, Where did you go"
    1:41-1:42
      Two clicks (centre)

  I'm so tired
    1:05
      Under the word "so" in "I'm so tired" there is a strange vocal/instrument
      sound.

| I saw her standing there
|   1:29
|     John - "When I saw her standing there"
|     Paul - "Till I saw her standing there"
|   2:26
|     Paul - "Now I'll never dance with another"
|     John - "H-i wouldn't dance with another" (From "How could+I wouldnt",
|                                               both of which were wrong!)

  I Should Have Known Better
    0:06
      Harmonica drops out for a bit.  Sounds to me more like running out of
      breath than bad mixing. (Not on MONO CD version)
    2:01
      Double Tracking lost here
    2:17
      Bad edit between "love me to-oo-o, oh../And when I"
    2:20
      Double Tracking regained, on the words "mine, ah-ha-hine"

  I Wanna hold your hand
    1:22
      John, as ever, forgets the vocals, and adlibs "balum-a-lumba Haaand"
 

  I Want You (She's So Heavy)
|   2:21
|     George flicks his pick up selector to change the tone of the guitar.
|   3:42
|     (Center) click/edit? (Maybe a switch being operated)
    4:28
|     Distortion in John's "Yeeah", prompting someone (in the control room ?)
|     to yell at him. Sounds like Paul to me, and Michael Bain agreed on this.
|   4:32
|     (Left channel) "Turn it down man/mal or Quiet down!"  This is likely due
|     to the distortion at 4:28
|   4:34 
|     Faint "Yeaah" (Couldn't be print-through, too far away from 4:28)

  I will
      Starts with a click. Maybe Ringo tapped out the count in, and it couldn't
      be trimmed without cutting into the "Who" at the start of the song.

  Julia
    0:14
      John is a bit late coming in on the "Julia" line.  Is this him, or was 
      it a mixing error?

  Let It Be
|   0:00,0:09
|     Drumstick clicks (Album version only)  
    1:07
      After the words "For though they may be parted," there is a whisper that
      I cannot make out on the right channel.  Single version only.

  Long Long Long
    2:31-2:56
      A bottle rattles on one of the speakers. Sounds like a coin being spun
      on a table

  Lovely Rita
    0:21,0:23
      John sings as an aside "Aah, Paul" under the main lyric
    0:33
      In the right ear, after "your heart awaaay" <fwip> "Standing..."
    2:11
      Edit in tape/click to join on the ending (Left)
    2:38
      Ringo shouts "You'd better believe it" or "They'll never believe it"
      in the very final moments of the song.

  Lucy in the Sky With Diamonds

    0:13
      Left, click
    0:45
      Cough ?
    0:50
      Guitar breaks through on right channel just before the "Lucy .."
    1:32
      John sings "grows so incredibly high", and a much delayed "igh" is heard
      Was this from a previous take?
    1:53-1:56
      Lead guitar drops out (Right)

> 2:34
>   Paul sings harmony on the "Lu" syllable in "Lucy"; he was supposed to sing
>   in tandem with John, and corrects himself by the second syllable.
 
      I do not think that it is John singing here at all. It is actually Paul
      double tracking himself. John sings the "Aaahhh" at the end of the 
      phrase. The matching of the two voices is too perfect to be John/Paul

    3:08
      Printthrough of "Aaah" audible on right channel

  Martha My Dear
    1:01
      Strange overlap of the words "Take a good", maybe overlap of two takes or
      an on the fly editing job. Sounds like an "Elvis" style echo!

  Maxwells Silver Hammer
      During the line "Writing fifty times I must not be so" Paul laughs. 
      I think someone in the background is distracting him.
 
  Michelle
    3:28
      Left ear - cough

  No Reply
    0:13
      Between "your window" and "I saw the light" there is a cough and some
      speech (Right channel)
    0:33-0:34
      Loss of tape reverb on the words "telephone" to "were no home"

  Ob-La-Di Ob-La-Da
    0:02
      Paul says "remember to step it up, John," then coughs, then hums a few
      notes to hit it right. Best heard when this track is OOPS'd. Laughter
      and joking by the other Beatles too.
    0:10
      Clap to mark the start of vocal track.
    ???:???
      In the words "Life goes on, bra / La la how the" there is a vocal punch
      in, marked by an audible tweet just after. This is a by-product of the
      two separate erasing operations, causing an audible sound.  
    1:08, 1:17
      Three clicks at each of the two points
    1:18
      John says "home", in referrence to the following line.
    1:42
      After the line "lets the children lend a hand", the first time George
      says "arm", John says "leg"
    2:13
      John says and spells out "home" at 2:13.
    2:33
      After the line "lets the children lend a hand", the second time John says
      "foot".

  Oh Darling
    2:48
      Repeat of the end of the word "Darling"

  Paperback Writer
    0:57
      (Right channel) sounds like a cough and tambourine rattle
    1:20
      Somebody manages to forget to come in with the harmony until literally
      one second too late on the "Frere Jacques." (Right channel)  Likely John.
    1:45
      Right channel again, someone clears his throat, and then a couple of 
      quiet tries at the correct notes before singing "Paperback Writer."

| Penny Lane
|   1:19-1:21
|     Crescendoing microphone feedback, similiar to at the end of the song
|     but most likely an error
|   2:04
|     Two bar passage of double bass, under the lines "banker sitting waiting
|     for a trim". Was this a mixing decision (only to put double bass there,
|     i.e. it could have been throughout the song), or was it recorded like
|     that?.

  Piggies
    1:53
      Print-through of "One more time"

  Please Please Me
|   1:08
|     John sings "rain in my heart". Backing singers  "try out" note for 
|     harmony, giving "Mmm....in my heart". Mono and stereo versions
    1:27
      John sings "Why do you never even try, girl?"
      Paul sings "I know you never even try, girl."
      John, apparently realizing his mistake, chuckles out his next "come on."
      Stereo Version only.
|   1:45 Mono version
|     Dip out in level, as end is edited on.
|   1:45 Stereo version
|     Same edit as above, but badly done. Timing goes out with introduction of
|     harmonica edit piece. Edit piece is slower than the left (rhythm) channel
|     and catches up in time for the last three chords.

 Polythene Pam

|   0:07
|     Click (Left)
|   0:08
|     Click and apparent drop in or somesuch of the word "Pam", just before
|     John sings it for real.
    0:41
     (Left channel) Someone yells "Yeah!"
    0:45
      (Right channel) Someone picks up the maraca.
    0:55-1:04
      (Left channel) Counting measures from 4 to 7.  This sounds like the same
      voice as at 0:41.
|   See also She Came in Through the Bathroom Window, 0:00

  Revolution Number 1
      Most certainly not "Take 18" punched into the tape (Lewisohn). Sounds
      much more likely to be "aah, Take Two". 

  Revolution Number 9
      Lewisohn, and other lyrics books show the lyrics as "Brother can you
      take me back ...". It sounds more like "Robert, can you take me ..."
      Also the mixer used to mix this track has a "scratchy" pan control. You
      can hear this 53 to 58 seconds after the first piano note and at 1:27 to
      1:46 after.

  Rock and Roll Music
    2:19
      John sings "oughta got rock and roll music" instead of "gotta be..."

| Roll over Beethoven
|   0:00-0:10
|     Messed up guitar intro. Listen to Berry's original, and then this one

  Savoy Truffle
      After "You'll have to have them all pulled out" and before "You might
      not" there are assorted purring and cooing noises in the left channel

  Sgt Pepper's Lonely Hearts Club Band 
    0:09-0:10
      "Roll over boys / Roll over Maurice", heavily reverbed, just before
      vocals start.
    0:26
      Drum beat under the word "play" is cut short, possible edit?
    1:46
      Left channel, the clapping fades down and straight back up. I think
      this may have been because there was not enough clapping to fill the
      space required

  Sgt Pepper's Lonely Hearts Club Band (Repriese)
      In the introduction, John says "Look up, Byeee". An increase in hum is
      heard just before this as the faders open.
|   0:10-0:15
|     Someone says "Winston" on the double bass drum beat. Followed by a
|     half awake "Haah?" from Lennon. Paul sings something high pitched,
|     sounds like "Pussy cat".
    1:15-1:17
      After Paul's "Wooo", John says "Paul, hold my guitar for me". Heard
      using OOPS.

| She Came in Through the Bathroom Window
|   0:00
|     John says "We'll listen to that now", probably in reference to the
|     previous track (Polythene Pam).

  She Loves You
    1:23-1:30
      Bad edit right after the line "I think it's only fair"...even the cymbals
      sound different.  The drop in ends after the line "Because she loves 
      you". Not audible in Capitol Remix.
    1:43 to end
      Bad edit, this may only be in the Capitol "Beatles 1962-1966" Album
      The harmonica goes out of time, and the vocals suddenly double track
      (Left ear)

  She Said She Said
    1:37
      "What I've Said" <I want the ...> "I said no no ..." (Right)

  She's a Woman
    1:25
      Rhythm guitar drops out for one beat
|   Third Verse
|     Guitarist playing the "up"beat strokes misses a chord change.
|
|       I             IV      I
|	My love don't give me presents
|       I            IV      I
|       I know that she's no peasant
|       I*        IV
|       Only ever has to give me ....
|
|    Where I* should be the IV chord. The rest of the group change, but he
|    doesn't!

  She's leaving home
    0:13-0:14
      Deep breath from Paul
    1:24,1:28,1:29:2:45
      Switches being operated?

  Slow Down
    1:15
      One sings "Now you've got a boyfriend down the street".
      Another sings "girlfriend," and seems to stumble over the "down the 
      street" part.

  Strawberry Fields Forever
    0:59
      Perhaps the most famous Beatles edit ever.  In fact, it is actually two
      edits.  The famous one is between take 7 and take 26.  Take 7 was slower
      and a semitone lower in key.  The two were edited together right between
      the words "'cause I'm" and "going to".  The less known edit occurs right
      before the words "Let me take you down".  It's also less noticeable.
      The edit can be heard clearly by listening to the drums and mellotron on
      the left. The drums go very dead, and the mellotron stops. At the same 
      time on the right, the orchestra appears from nowhere.
    1:17, 2:01
      Counting from one to four
    3:27-4:05
      Left channel, lots of talking, sounds like directions of sorts.
    3:57, 4:03
>     John mutters the famous "Cranberry Sauce" twice, followed by "My mother
>     made it for me."  Paul is dead fanatics insist that what John really says
>     is "I Buried Paul," but that somehow doesn't go with "My mother made it
>     for me."  Note that "My mother..." cannot be heard on any released 
>     version.

|     Can someone enlighten me as to where it *can* be heard?? (Bootlegs?)

>     The song fades out in all cases before the end of the second "Cranberry
>     Sauce."  The German release of Magical Mystery Tour fades out later than
>     other releases (and so, therefore, does the CD), but still too soon to
>     hear the "My mother..." statement.

      Listen to the bootleg versions, they carry both "cranberrys" plus lots
      of shouting from John to Ringo, "What are you playing it","Alright Calm
      down ringo"
      Frank Daniels is sure that he hears "I'm very hoarse" instead of the
      claimed "Cranberry Sauce" (German Version). He also mentions the morse
      code, supposedly "J.L.". Can any "morse-proficient" person check this,
      as I feel this is incorrect (Like the cover to Help, which doesn't say
      "Help" in semaphore!)

  Taxman
    0:03
      Left channel, "One for you 19 for me <cough> 1-2-3-4"
    0:35-0:37,0:42-0:44
      Right channel drops out
    1:38,1:45
      "Ah ah Mr Wilson/Heath" dropped into lead guitar track (!) with audible
      clicks

  Tell me what you see
      Paul tries out the initial line "If you let, If you let" before the song
      starts proper. Also the hissing of a revolving Lesley can be heard.

  Tell me why
    1:42
      Edit, or dropout, between "so in love with you/Tell me why". The level
      seems to drop sharply, and come in a little late ...

  The Continuing Story of Bungalow Bill
    0:14
      After the line "what did you kill..." Ringo says "I'll tell you"
    0:35, 1:12, 1:49
      Punch-ins at the end of each guitar/banjo bridge, before the chorus.
    3:04
      Print-through of the "Eh-up". Possibly prompting from another Beatle?
  
  The End
    0:28
      Someone counts "6," counting the measures of the drum solo.

  The Word
      The harmonies for this are "flown in" from a separate tape. Listen 
      carefully and you will hear "Say the ..." and then the "wwwwooordd"
      slews up to speed.

  This Boy
    1:27
      Bad edit right after the line "'Till he's seen you cryyy" in the chorus.

  Tomorrow Never Knows
    0:52
      ADT drops out early, leaving "It is being, It is" in the right ear. At
      the same moment the organ sound stops.
    1:28
      Feedback from Leslie speaker. (Right, during "Love is all and love is")

  Twist 'n' Shout
    1:25
      Careful study of Paul's first "aaah" will show that half way through the
      pitch flattens slightly. This is possibly an edit between two takes.
      Audible on the Please Please Me CD, and maybe others?
|   2:27
|     "Aaay" during last chord (Paul?)

  What Goes On
    1:11
      (Left channel) someone says something
    1:35-1:54 especially loud at 1:46-1:53
      Ringo hums the melody during the middle eight.  This left Joe Brennan
      wondering how many songs Ringo hummed during, though without a mic.
    1:28
      (Left channel)
      John says "TELL me why."  It's possible that John says "I already TOLD
      you why;" if so, "I already" is too faint to hear, but the inflection is 
      too unclear for me to state it conclusively.
    2:36-2:40
      Ringo sings "in your mind" twice at the end of the song.

  When I'm Sixty-Four
    0:38-0:42
      Bass Pedal can be heard to squeak
    1:04, 2:00
      Paul sings "um um" along with the other instruments, emphasizing the 
      beat.
    1:55
      Faint piano notes
    2:28
      Edit in vocals track, "When I'm sixty four/ye  Hoo!"
    2:37
      Faint whistle at the end of the track.

  Why Don't We Do It In The Road
    0:01
      Squeak during drum intro.
    0:17, 0:27
      Someone (Ringo?) says "yeah"

  With a little help from my friends
    0:00-0:02
      Centre, loud tweets during the word "Billy"
    0:08
      Noticeable increase in mains hum as the fader opens for Ringo's vocal
      (Right channel)
    2:04
      Right channel, crackles in bass line (bad lead/connector?)
    2:29
      Ringo admits that he wasn't confident about that high note at the end.
      Here you can hear an edit to join on a successful attempt at the last
      phrase, beginning with the words "Ye/es I get by with-a-little-help-from
      my friends with-a-little ..."

  Within You Without You
    3:41-3:47
      George is singing along as (he?) plays the drum part, with an audible
      "Da da da da, two .. We were"

  Words of Love
    0:59-1:04
      Possible edit or drop-in in guitar track (Left channel).
      Ringo's bass drum squeaks through this one, too. (Left channel)

  Yellow Submarine
    1:04
      "And the band begins to play" ... They certainly do, but one of the
      trumpeters decides to put in a little trill ahead of cue!
    1:51
      The backing vocals come in a line and a half late in verse 3

  Yer Blues
    1:05-1:08, 1:20, 1:26, 1:49
      Feedback
    1:31-1:40, 2:00-2:07
      Someone shouts out lyrics behind John's singing
    2:25-2:27
      (Left channel) yells
    2:29-3:16
      (Left channel) faint guitar
    3:16
      The supposed "instrumental" verse at the end has some bleedover from the
      vocals of another track.  This segment was spliced in from another take,
      according to Lewisohn.  The edit can be heard in a clipped guitar note.

  Yesterday
    0:19
      During the word "believe" there is a squeak, sounds like from a violin 
      string. (Left channel)

| You Know My Name (Look Up The Number)
|   4:10
|     At the start of John's incoherent mumbling, someone belches.

  You Like Me Too Much
    0:00-0:08
      Scratching sound of the Leslie speaker revolving
    0:08
      Click of the Leslie speaker turning off

  You Never Give Me Your Money
    0:14
      Piano notes
    0:29
      Breath is taken
    3:08
      Someone picks up a tambourine
    3:46-3:56
|     Talking and guitar playing. Specifically 3:52, what does John sing
|     after "1-2-3-4-5-6-7 ...". It's not "All good children go to heaven".
|     Could be "Bloody 'ell".

| You Really got a hold on me
|   0:25
|     Unsmooth switch to a different take, unlike the switch at 1:00

  You Won't See Me
    0:02
      Cough
|   3:16
|     Double Click (Left channel)

-----------------------------------------------------------------------------

I'm sure there are many others.  If you happen to hear any, let me know!
Michael Brown (mjb@dcs.warwick.ac.uk)

Thanks to those who contributed to this list:

Matthew Rupert    Michael Bain   Bill W at Uni. Pittsburgh
Gene Schroeder    Robert Berry   Joseph S. Dalfonso
Jay Smith         Greg O'Rear    Doug Campbell
Frank Daniels     Steve Barclay  Preston Landers
Michael Lane      Andrew Walker

Special thanks to:

Saki
Joe Brennan
Andy Van Pelt

And now, a word from our legal department:

Copyright  (c)  1993,1994  Michael Brown, all rights reserved except the 
following:

This document may be reproduced in part or in full, by any means, provided the
first lines up to and excluding the line beginning "Category 1," and the last
lines beginning with and including the line beginning "I'm sure there are many
others," including this copyright notice, are all included.  Any reproduction
that is not a complete document must be labeled as such before distribution.
Any changes made to the document must be labeled as portions exclusive of this
document in a fashion so as to make clear that the author of those portions is
NOT the author of this document, and/or must be approved as a written revision
from the author of this document.  No monetary compensation, short of cost of
materials and distribution, may be charged for any means of distribution.

<end>


