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