
The Usenet Guide to Beatles Recording Variations
Part 5

version 1.1, May 2 1994

compiled by Joseph Brennan
copyright 1994 by Joseph Brennan--no unauthorized use permitted
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REVOLUTION 1
basic recording- 30 May 1968
additional recording- 31 May, 4,21 Jun 1968
master tape- 4 track 4th generation

[a] stereo 25 Jun 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[a1] mono from [a] 1968.
    UK: Apple PMC 7068 white album 1968.

-----

REVOLUTION 9
basic recording- 30 May 1968
additional recording- 6,10,11,20,21 Jun 1968
master tape- 4 track

[a] stereo 21,25 Jun 1968. edited.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[a1] mono from [a] 1968.
    UK: Apple PMC 7068 white album 1968.

Tape loops prepared on Jun 6-11 were fed into the master on Jun 20-25.  The
basic track was the end of Revolution 1 (see above).  Editing shortened the
piece by almost a minute.

Although the mono was made from the stereo, the opening lines are more clear
in mono: "I would've gotten claret for you but I've realized I've forgotten
all about it, George, I'm sorry.  Will you forgive me?".  Perhaps this was
added during mixing?

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DON'T PASS ME BY
basic recording- 5 Jun 1968
additional recording- 5,6 Jun, 12,22 Jul 1968
master tape- 4 track 3d generation

[a] mono 11 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.  
    US: Capitol SHAL-12060 Rarities 1980.
[b] stereo 11 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Mono [a] runs faster, and it has more fiddle audible throughout the song, and
different fiddle at the end.  The edit added the intro.

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BLACKBIRD
basic recording- 11 Jun 1968
additional recording- 11 Jun 1968
master tape- 4 track

[a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

The overdubs of bird sounds were done differently.

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EVERYBODY'S GOT SOMETHING TO HIDE EXCEPT ME AND MY MONKEY
basic recording- 27 Jun 1968
additional recording- 27 Jun, 1,2,3 Jul 1968
master tape- 4 track 4th generation

[a] stereo 12 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 12 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

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OB-LA-DI, OB-LA-DA
basic recording- 8 Jul 1968
additional recording- 8,9,15 Jul 1968
master tape- 4 track 3d generation

[a] stereo 12 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCS P718 The Beatles 1967-1970
      1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles
      1967-1970 1973.
    CD: white album 1987, The Beatles 1967-1970 1993.
[b] mono 12 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

The mono [b] misses handclaps in the intro, heard in [a].

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REVOLUTION [2]
basic recording- 10 Jul 1968
additional recording- 10,11,12 Jul 1968
master tape- 4 track 4th generation

[a] mono 15 Jul 1968.
    UK: Apple R5722 1968.  
    US: Apple 2276 1968.
[b] stereo 5 Dec 1969.
    US: Apple SW385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970
      1973.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.  
    CD: Past Masters 2 1988, The Beatles 1967-1970 1973.

The song was deliberately distorted during recording and mixing, so since the
mono [a] sounds more distorted and compressed, it's better!  John's guitar
also sounds louder in mono [a].

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CRY BABY CRY
basic recording- 16 Jul 1968
additional recording- 16,18 Jul 1968
master tape- 4 track 2d generation

[a] stereo 15 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968. 
    CD: white album 1987.
[b] mono 15 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

The US Apple release has a drop in sound level during "by the children" in
the last verse, probably a tape problem.

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GOOD NIGHT
basic recording- 22 Jul 1968
additional recording- 22 Jul 1968
master tape- 4 track

[a] mono 11 Oct 1968.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 11 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Stereo [b] fades in; [a] does not.

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HEY JUDE
basic recording- 31 Jul 1968 at Trident
additional recording- 31 Jul, 1 Aug 1968 at Trident
master tape- 8 track

[a] mono 8 Aug 1968.
    UK: Apple R5722 1968.  
    US: Apple 2276 1968.
[b] stereo 5 Dec 1969.
    US: Apple SW385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1967-1970
      1973.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.

Drums are mixed louder in stereo [b].  Mono [a] is 5 seconds longer than the
longest appearance of [b], long fade.  This song has appeared with early
fades on some compilations (in stereo).

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MOTHER NATURE'S SON
basic recording- 9 Aug 1968
additional recording- 20 Aug 1968
master tape- 4 track 2d generation

[a] stereo 12 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 12 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

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SEXY SADIE
basic recording- 13 Aug 1968
additional recording- 21 Aug 1968
master tape- 4 track 4th generation

[a] mono 21 Aug 1968.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Stereo [b] has an extra tap at the start.  Mono [a] lacks bass until the
vocal starts.

-----

YER BLUES
basic recording- 13 Aug 1968
additional recording- 13,14,20 Aug 1968
master tape- 4 track 2d generation

[a] mono 14,20 Aug 1968. edited.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 20 Oct 1968. edited.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

The 2d generation tape is an edit of two mixdowns, the edit causing an abrupt
transition at the end of the guitar solos.  In stereo, traces of other vocal
and guitar parts can be heard throughout the song in the left channel,
including something shouted over parts of the vocal and what sounds like
another different guitar solo.  After the edit, the trace lead vocal suggests
we are hearing the first part of the song from the other take.

The edit in the mixes added the countdown intro, which is louder in mono [a].
[a] is 11 seconds longer, long fade.

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ROCKY RACCOON
basic recording- 15 Aug 1968
additional recording- 15 Aug 1968
master tape- 4 track 2d generation

[a] mono 15 Aug 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 10 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968. 
    CD: white album 1987.

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WILD HONEY PIE
basic recording- 20 Aug 1968
additional recording- 20 Aug 1968
master tape- 4 track

[a] mono 20 Aug 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Of the two vocal tracks, one is louder in [b], the other in [a].

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BACK IN THE U.S.S.R.
basic recording- 22 Aug 1968
additional recording- 22,23 Aug 1968
master tape- 4 track 2d generation

[a] mono 23 Aug 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCS P718 The Beatles 1967-1970
      1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles
      1967-1970 1973.
    CD: white album 1987, The Beatles 1967-1970 1993.

The plane sound effects differ in [a] and [b].  Mono [a] has louder piano, a
yell after the opening plane sound, and drumbeats under the closing plane
sound.  Stereo [b] has extra guitar chords at the start of the solo, and
shouts and piano during the guitar solo.

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DEAR PRUDENCE
basic recording- 28 Aug 1968 at Trident
additional recording- 28,29,30 Aug 1968 at Trident
master tape- 8 track

[a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

Stereo [a] has slightly more treble and fades to a lower volume at the end.

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WHILE MY GUITAR GENTLY WEEPS
basic recording- 5 Sep 1968
additional recording- 6 Sep 1968
master tape- 8 track

[a] mono 14 Oct 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 14 Oct 1968.
    UK: Apple PCS 7067 white album 1968, Apple PCS P718 The Beatles 1967-1970
      1973.
    US: Apple SWBO 101 white album 1968, Apple SKBO-3404 The Beatles
      1967-1970 1973.
    CD: white album 1987, The Beatles 1967-1970 1993.

This is the first 8 track recording (by anyone) at EMI Abbey Road.

The Clapton guitar remains loud in mono [a] after the solo break, not in [b].
Near the end of the fadeout only the stereo [b] has "yeah yeah yeah", even
though it is a few second shorter than [a].

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HELTER SKELTER
basic recording- 9 Sep 1968
additional recording- 9,10 Sep 1968
master tape- 8 track

[a] mono 17 Sep 1968. edited.
    UK: Apple PMC 7068 white album 1968.  
    US: Capitol SHAL12060 Rarities 1980.
[b] stereo 12 Oct 1968. edited.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

The basic song runs about 3:10 to a pause shortly after Paul's distorted
vocal, too close to the microphone.  Mono [a] then is edited into more of the
same take, with sound effects noises, and fades at 3:36.  Stereo [b] is
edited instead to a different part of the take, fading out and then back in
again, with another edit, ending finally at 4:29 after Ringo shouts "I've got
blisters on my fingers!".

Is the distorted vocal "Can you hear me speaking-- woo!" or "My baby is
sleeping, ooh!, dreaming"?

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GLASS ONION
basic recording- 11 Sep 1968
additional recording- 12,13,16 Sep, 10 Oct 1968
master tape- 8 track

[a] stereo 10 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: white album 1987.
[b] mono 10 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.

The edit adds the end orchestral piece.  Stereo [a] is lacking Paul's added
vocal "oh yeah" at the end of the break.

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I WILL
basic recording- 16 Sep 1968
additional recording- 17 Sep 1968
master tape- 8 track 2d generation

[a] mono 26 Sep 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 14 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968. 
    CD: white album 1987.

This started as 4 track and was copied to 8 track, so it's 2d generation.
The "bass" (vocal) starts later in mono [a], after the first verse.

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[ CAN YOU TAKE ME BACK ]
basic recording- 16 Sep 1968
additional recording- none
master tape- 4 track

[a] mono 16 Oct 1968.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 17 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

A segment of this improvisation was placed between Cry Baby Cry and
Revolution 9; it was recorded as a take of I Will.

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BIRTHDAY
basic recording- 18 Sep 1968
additional recording- 18 Sep 1968
master tape- 8 track 2d generation

[a] mono 19 Sep 1968.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.
    US: Apple SWBO 101 white album 1968.
    CD: white album 1987.

The last "daaaance" starts twice, maybe a double-track error or a leak from
a guide vocal, as heard on stereo [b], but covered up by other sound in [a].

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PIGGIES
basic recording- 19 Sep 1968
additional recording- 20 Sep, 10 Oct 1968
master tape- 8 track 2d generation

[a] mono 11 Oct 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 11 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

The overdubs of pig sounds differ.  The guitar is louder in mono [a].

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HAPPINESS IS A WARM GUN
basic recording- 24 Sep 1968
additional recording- 25 Sep 1968
master tape- 8 track 2d generation

[a] mono 26 Sep 1968. edited.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 15 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

The 2d generation master is an edit of (copies of) two takes with more
material overdubbed.  Mono [a] has tapping on the beat from the start until
the drums come in, but it is soft and mixed out 4 beats earlier in [b].  ADT
was added to the "I need a fix" section before mixing so both versions have
an error where the first line was mixed out but the last "down" is just
audible.  Mono [a] has louder bass in the "I need a fix" section.  Mono [a]
has laughter near the very end, just before the last drumbeat, not heard in
[b].

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HONEY PIE
basic recording- 1 Oct 1968 at Trident
additional recording- 2,4 Oct 1968 at Trident
master tape- 8 track

[a] mono 5 Oct 1968 at Trident.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 5 Oct 1968 at Trident.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968. 
    CD: white album 1987.

Mono [a] has some lead guitar fills after the instrumental break, not in [b].

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SAVOY TRUFFLE
basic recording- 3 Oct 1968 at Trident
additional recording- 3,5 Oct 1968 at Trident
master tape- 8 track

[a] mono 14 Oct 1968.
    UK: Apple PMC 7068 white album 1968.
[b] stereo 14 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Mono [a] has sound effects during the instrumental break, and the lead guitar
continues through the break into the refrain after it.  The organ is missing
from the last verse in [a].

-----

MARTHA MY DEAR
basic recording- 4 Oct 1968 at Trident
additional recording- 4,5 Oct 1968 at Trident
master tape- 8 track

[a] mono 5 Oct 1968 at Trident.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 5 Oct 1968 at Trident.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

This has a lot of tape hiss.

-----

LONG LONG LONG
basic recording- 7 Oct 1968
additional recording- 7,8,9 Oct 1968
master tape- 8 track

[a] stereo 10 Oct 1968.
    UK: Apple PCS 7068 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 14 Oct 1968.
    UK: Apple PMC 7068 white album 1968.

Doubletracking starts at the first "long" in stereo [a], the third "long" in
[b], and sounds somewhat different thereafter.  The guitar is mixed louder in
stereo [a].

-----

I'M SO TIRED
basic recording- 8 Oct 1968
additional recording- 8 Oct 1968
master tape- 8 track

[a] mono 10 Oct 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 10 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US:Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Paul's harmony at the first "You'd say" is louder in mono [a].  The muttering
after the song is part of this recording.

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THE CONTINUING STORY OF BUNGALOW BILL
basic recording- 8 Oct 1968
additional recording- 8 Oct 1968
master tape- 8 track

[a] stereo 9 Oct 1968. edited.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 9 Oct 1968. edited.
    UK: Apple PMC 7067 white album 1968.

The intro guitar was edited on.  The "eh up" after the song is part of this
recording.

-----

WHY DON'T WE DO IT IN THE ROAD
basic recording- 9 Oct 1968
additional recording- 9,10 Oct 1968
master tape- 4 track 2d generation

[a] mono 16 Oct 1968.
    UK: Apple PMC 7067 white album 1968.
[b] stereo 16 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.

Mono [a] lacks handclaps in the intro.

-----

JULIA
basic recording- 13 Oct 1968
additional recording- 13 Oct 1968
master tape- 4 track

[a] stereo 13 Oct 1968.
    UK: Apple PCS 7067 white album 1968.  
    US: Apple SWBO 101 white album 1968.  
    CD: white album 1987.
[b] mono 13 Oct 1968.
    UK: Apple PMC 7067 white album 1968.

-----

MAGGIE MAE
basic recording- 24 Jan 1969 at Apple
additional recording- none
master tape- 8 track

[a] stereo 26 Mar 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

-----

FOR YOU BLUE
basic recording- 25 Jan 1969 at Apple
additional recording- ? Jan 1969 at Twickenham, 8 Jan 1970
master tape- 8 track

[a] stereo 25 Mar 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple 2837 1970, Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

"Queen says no to pot-smoking FBI members" was recorded at some date 2-10 Jan
1969 at Twickenham Film Studios and edited onto the start.  It was omitted
on the US single.  This dialog was on the filmmaker's mono sound tape.

The Jan 1970 vocal overdubs included the spoken words during the solo,
apparently.  The same take does not have the words in the March 1969 mix or
the "Get Back" album.

-----

DIG IT!
basic recording- 26 Jan 1969 at Apple
additional recording- 24 Jan 1969 at Apple
master tape- 8 track

[a] stereo 27 Mar 1970. crossfaded.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

This segment of an 8 minute song was crossfaded into "That was can you dig it
. . .hark the angels come", recorded 24 Jan 1969 at Apple.

-----

GET BACK
basic recording- 27 Jan 1969 at Apple
additional recording- 28 Jan 1969 at Apple, 30 Jan 1969 at Apple (roof)
master tape- 8 track

[a] mono 7 Apr 1969 at Olympic Sound. edited.
    UK: Apple R5777 1969.  
[b] stereo 7 Apr 1969 at Olympic Sound. edited.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.  
    US: Apple 2490 1969, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
[c] stereo 26 Mar 1970. edited.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The mono [a] and stereo [b] "single versions" are similar.  After a pause,
after a high "woo", it continues into a coda with half-spoken words into a
fadeout.  Mono [a] fades slightly longer, but [b] is heard a second longer
than usual on Capitol's 20 Greatest Hits LP.  The coda seems to be edited
from another take, and if so the main song may be Jan 27 and the coda Jan 28;
Lewisohn says the version with the coda is from Jan 28.  Evidence of the edit
is that the March 1969 stereo mix (as heard on bootleg) ends at the "woo",
over off-mike talking, and continues a few seconds into silence and a guitar
noise.  The unreleased "Get Back" albums compiled later use the mix [b] from
the single.

The "Phil Spector version" [c] is edited after the "woo" into speech recorded
30 Jan 1969, at the end of the last "rooftop" performance of Get Back:
"(cheers) Thanks Mo. . . we hope we passed the audition".  The speech at the
beginning may or may not belong there.  The March 1969 mix has the "Rosetta"
before the song but not the "Sweet Loretta Fart" verse, but for obvious
reasons it may be that the latter was cut out of the March 1969 mix if it was
spoken there.

-----

DON'T LET ME DOWN
basic recording- 28 Mar 1969 at Apple
additional recording- 7 Apr 1969 at Olympic Sound (?)
master tape- 8 track

[a] mono 7 Apr 1969 at Olympic Sound.
    UK: Apple R5777 1969.  
[b] stereo 7 Apr 1969 at Olympic Sound.
    UK: Apple PCS P718 The Beatles 1967-1970 1973.  
    US: Apple 2490 1969, Apple SW 385 Hey Jude 1970, Apple SKBO-3404 The
      Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.

There appears to be a second John vocal in verse 3 (trace of another vocal)
and more clearly at the very end in the fade where it seems to be John
overlapping on "Can you dig it"/"Don't let me"/"Yeah"/"Don't let me down".
Or is it Paul?  If it's an overdub, it was perhaps added at the mix session,
either live or dropped in from another tape.

The unreleased albums use a different take.

-----

I'VE GOT A FEELING
basic recording- 30 Jan 1969 at Apple (roof)
additional recording- none
master tape- 8 track

[a] stereo 23 Mar 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The talk at the end belongs, as seen in the film Let It Be.

-----

ONE AFTER 909
basic recording- 30 Jan 1969 at Apple (roof)
additional recording- none
master tape- 8 track

[a] stereo 23 Mar 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The talk at the end and a bit of "A Londonderry Air" belongs, as seen in the
film Let It Be.

-----

DIG A PONY
basic recording- 30 Jan 1969 at Apple (roof)
additional recording- none
master tape- 8 track

[a] stereo 23 Mar 1970. edited.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The edit removed the line "All I want is you" at the beginning and end, 
for reasons unknown.  (This song is called "I Dig a Pony" on US albums.)

-----

THE LONG AND WINDING ROAD
basic recording- 31 Jan 1969 at Apple
additional recording- 1 Apr 1970
master tape- 8 track

[a] stereo 26 Mar, 2 Apr 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970, Apple PCS P718 The Beatles
      1967-1970 1973.
    US: Apple 2837 1970, Apple AR 34001 Let It Be 1970, Apple SKBO-3404 The
      Beatles 1967-1970 1973.
    CD: Let It Be 1987, The Beatles 1967-1970 1993.

The mix removes the Beatles' instrumental work and part of the vocal (the
second bridge) in favor of orchestra and strings recorded in April 1970.
This take appears in the film Let It Be without the 1970 overdubs.

-----

LET IT BE
basic recording- 31 Jan 1969 at Apple
additional recording- 30 Apr 1969, 4 Jan 1970
master tape- 8 track

[a] stereo 8 Jan 1970.
    UK: Apple R5833 1970, Apple PCS P718 The Beatles 1967-1970 1973.  
    US: Apple 2764 1970, Apple SKBO-3404 The Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.
[b] stereo 26 Mar 1970. edited.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The "single mix" [a] uses lead guitar overdubbed April 1969, while [b] uses
lead guitar overdubbed Jan 1970; both use horns from April 1969, [b] more
prominently.  [b] has a repeat of the last chorus edited in.

-----

TWO OF US
basic recording- 31 Jan 1969 at Apple
additional recording- ? Jan 1969 at Apple
master tape- 8 track

[a] stereo 25 Mar 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

"I dig a pygmy. . .Doris gets her oats" recorded sometime 22-29 Jan 1969 was
edited onto the start.  Some say the song has overdubs (not specified).

-----

I WANT YOU (SHE'S SO HEAVY)
basic recording- 22 Feb 1969 at Trident
additional recording- 18,20 Apr, 8,11 Aug 1969
master tape- 8 track 3d generation

[a] stereo 20 Aug 1969. edited.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO383 Abbey Road 1969.
    CD: Abbey Road 1987.

Three takes from Feb 22 work were edited into a master (2d generation), which
was overdubbed, mixed down on Apr 18 (3d generation), and overdubbed on Apr
18 and 20 and Aug 11.  Different overdubs were made to the 2d generation tape
Aug 8.  The mix is the 3d generation for 4:37 (up to "she's so") and then the
2d generation tape, which has a white noise added Aug 8.

-----

THE BALLAD OF JOHN AND YOKO
basic recording- 14 Apr 1969
additional recording- 14 Apr 1969
master tape- 8 track

[a] stereo 14 Apr 1969.
    UK: Apple R5786 1969, Apple PCS P718 The Beatles 1967-1970 1973.  
    US: Apple 2531 1969, Apple SW 385 Hey Jude 1970, Apple SKBO-3404 The 
      Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.

The single release has a loud final drumbeat; it is faded on the other
releases.

-----

OLD BROWN SHOE
basic recording- 16 Apr 1969
additional recording- 16,18 Apr 1969
master tape- 8 track

[a] stereo 18 Apr 1969.
    UK: Apple R5786 1969, Apple PCS P718 The Beatles 1967-1970 1973.  
    US: Apple 2531 1969, Apple SW 385 Hey Jude 1970, Apple SKBO-3404 The 
      Beatles 1967-1970 1973.
    CD: Past Masters 2 1988, The Beatles 1967-1970 1993.

The dynamic range was greater on the single than the albums-- the solo
is louder than the rest.

-----

OH! DARLING
basic recording- 20 Apr 1969
additional recording- 20,26 Apr, 23 Jul, 8,11 Aug 1969
master tape- 8 track

[a] stereo 12 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

-----

OCTOPUS'S GARDEN
basic recording- 26 Apr 1969
additional recording- 29 Apr, 17,18 Jul 1969
master tape- 8 track

[a] stereo 18 Jul 1969.
    UK: Apple PCS 7088 Abbey Road 1969, Apple PCS P718 The Beatles 1967-1970
      1973.
    US: Apple SO-383 Abbey Road 1969, Apple SKBO-3404 The Beatles 1967-1970
      1973.
    CD: Abbey Road 1987, The Beatles 1967-1970 1993.

-----

SOMETHING
basic recording- 2 May 1969
additional recording- 5 May at Olympic Sound, 11,16 Jul, 15 Aug 1969
master tape- 8 track 2d generation

[a] stereo 19 Aug 1969.
    UK: Apple R5814 1969, Apple PCS 7088 Abbey Road 1969, Apple PCS P718 The
      Beatles 1967-1970 1973.   
    US: Apple 2654 1969, Apple SO-383 Abbey Road 1969, Apple SKBO-3404 The
      Beatles 1967-1970 1973.
    CD: Abbey Road 1987, The Beatles 1967-1970 1993.

-----

YOU NEVER GIVE ME YOUR MONEY
basic recording- 6 May 1969 at Olympic Sound
additional recording- 1,15,31 Jul, 5 Aug 1969
master tape- 8 track

[a] stereo 13 Aug 1969. crossfaded 21 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The crossfade joins it to the next song Sun King / Mean Mr Mustard and
includes sound effects not part of either song.  The sound effects in the
join are the Aug 5 additional recording listed above, credited as part of
this song but really a separate tape used when the crossfade was done.

-----

HER MAJESTY
basic recording- 2 Jul 1969
additional recording- none
master tape- 8 track

[a] stereo 30 Jul 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The last note was cut off a copy of the master in a rough edit done Jul 30
for a test of the medley, and that piece of tape was used on purpose for
the album.  The sound at the start is the end of Mean Mr Mustard.

-----

GOLDEN SLUMBERS / CARRY THAT WEIGHT
basic recording- 2 Jul 1969
additional recording- 3,4,30,31 Jul, 15 Aug 1969
master tape- 8 track 3d generation

[a] stereo 18 Aug 1969. crossfaded 19 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The 2d generation was an edit of two takes.

The crossfade joins this to the following song, The End; the join is in
the guitar work after the last "carry that weight a long time".

-----

HERE COMES THE SUN
basic recording- 7 Jul 1969
additional recording- 7,8,16 Jul, 6,11,15,19 Aug 1969
master tape- 8 track 2d generation

[a] stereo 19 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969, Apple PCS P718 The Beatles 1967-1970
      1973.
    US: Apple SO-383 Abbey Road 1969, Apple SKBO-3404 The Beatles 1967-1970
      1973.
    CD: Abbey Road 1987.

-----

MAXWELL'S SILVER HAMMER
basic recording- 9 Jul 1969
additional recording- 9,10,11 Jul, 6 Aug 1969
master tape- 8 track 2d generation

[a] stereo 12,14 Aug 1969. edited.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The edit added an edit piece, Aug 14, to the stereo master.  A few seconds
were edited out of the album master on Aug 25, so the master tape of the song
differs from the album-- check any future reissues.

-----

COME TOGETHER
basic recording- 21 Jul 1969
additional recording- 22,23,25,29,30 Jul 1969
master tape- 8 track

[a] stereo 7 Aug 1969.
    UK: Apple R5814 1969, Apple PCS 7088 Abbey Road 1969, Apple PCS P718 The
      Beatles 1967-1970 1973.
    US: Apple 2654 1969, Apple SO-383 Abbey Road 1969, Apple SKBO-3404 The
      Beatles 1967-1970 1973.
    CD: Abbey Road 1987, The Beatles 1967-1970 1993.

-----

THE END
basic recording- 23 Jul 1969
additional recording- 5,7,8,15,18 Aug 1969
master tape- 8 track

[a] stereo 19 Aug 1969. crossfaded 19 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The crossfade joins this to the preceding song, Golden Slumbers / Carry That
Weight.  A few seconds were edited off the album master, so the master tape
of the song differs from the album.  Lewisohn does not specify what was cut,
but a version with a longer sustained final note has turned up on bootleg;
whether it is on any legitimate release is unknown.

-----

SUN KING / MEAN MR MUSTARD
basic recording- 24 Jul 1969
additional recording- 25,29 Jul 1969
master tape- 8 track

[a] stereo 14 Aug 1969. crossfaded 14,21 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The first crossfade joined this to the following item, Polythene Pam / She
Came in through the Bathroom Window.  The second joined the combined tape to
You Never Give Me Your Money.

-----

POLYTHENE PAM / SHE CAME IN THROUGH THE BATHROOM WINDOW
basic recording- 25 Jul 1969
additional recording- 25,28,30 Jul 1969
master tape- 8 track 2d generation

[a] stereo 14 Aug 1969. crossfaded 14 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

The crossfade joins this to the preceding song, Sun King / Mean Mr Mustard.

-----

BECAUSE
basic recording- 1 Aug 1969
additional recording- 1,4,5 Aug 1969
master tape- 8 track

[a] stereo 12 Aug 1969.
    UK: Apple PCS 7088 Abbey Road 1969.  
    US: Apple SO-383 Abbey Road 1969.
    CD: Abbey Road 1987.

-----

I ME MINE
basic recording- 3 Jan 1970
additional recording- 3 Jan, 1 Apr 1970
master tape- 8 track

[a] 23 Mar, 2 Apr 1970.
    UK: Apple PXS 1 and PCS 7096 Let It Be 1970.  
    US: Apple AR 34001 Let It Be 1970.
    CD: Let It Be 1987.

The March mix extended the song by repeating segments to build another bridge
and verse.

-----


End Part 5---End of file.

