What Goes On

"What Goes On" - The Beatles Anomalies List Compiled by Michael Brown Version 3.03, 25th March 1996 ----------------------------------------------------------------------------- * To those new to "What Goes On" - a brief introduction ... Hello! You've found what's become one of the definitive rec.music.beatles collections of Beatles melodic mishaps. Originally started back in early 1992 by Michael Weiss, the anomalies list grew out of a fascination with the little sounds and curiosities which can be found within the Beatles' recordings. A concerted effort by Michael and myself, plus many contributors >From the net results in this list. * So define an "anomaly" then? Well, it's difficult, as it is a subjective thing! *But* I'd say it's any sound which you feel shouldn't really be there, and in a perfect world, wouldn't be there! Something which, years later, people are finding and saying, "So what caused that?", or "What did he say again?". Examples are edits which stick out (where takes have been joined together), vocal chatter not directly part of the record, recording glitches .... * How do I hear them? Well, here's probably the best excuse you've got for listening to your entire Beatles collection again! Seriously, some are easily heard, others only come after being pointed out. Others may need a little technical wizardry to bring them out, even for sharp ears - more on this later! But a good pair of headphones, a clean record (or a CD) and often plenty of treble make the little details stand out. * If I hear one, and it's not in the list, what do I do? * What if I think you're wrong? * I want an argument about an entry in WGO!! Email me! - I'm still collecting anomalies, although the law of dimishing returns applies - as time goes on, they get harder to find. You can reach me at mjb@pootle.demon.co.uk - feel free to become another contributor to the list. If it's an argument you want, you'll have to pay me first .... Any contributions are 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", as some anomalies only exist on a particular version. * Version 3.03? Yes, it's about time I did a new version. So here it is! - more contributions >From the net, some corrections, and neatening up. All times are as accurate as possible - most are taken from the CD version, for ease of reference. Where possible, I have included some vocal detail etc from the surrounding track. Changes or additions from the last version are marked with a '|' to the left. "Quoting" from an earlier version of the list is marked with '>'. * What's this technical wizardry? Due to the mixing of many Beatles tracks, some sounds can be brought out very clearly by removing others. An effect called OOPS (Out Of Phase Stereo) can be used to do this. 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 OOPS'd 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. This is often used in vocal eliminators (a la karaoke machines) to zap the centre channel, usually the vocals. The Beatles didn't keep this rule, fortunately, and so (for example) "Birthday" OOPS's into just the vocals, and *no* music! I use a DIY built unit to do this, as it allows me to adjust the cancellation position to remove more 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 :) So here goes the latest Anomalies List - Enjoy! ----------------------------------------------------------------------------- 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 I Got To Do | Squeaky pedal on bass drum throughout song, esp intro. 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 speaks". It sounds like "then check it". 1:19,1:23 Two edits in the guitar tracks, right ear | 2:08 | Plinking notes, guitar or banjo sound. Don't seem to fit with song? 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 too mellow to be John. The same voice sings "She Loves You Yeah Yeah Yeah, She'd Love To, Yeah Yeah". For more details, request a copy of "All You Need Is Love - The story so far" from either myself, Saki, or through the newsgroup. And I Love Her 1:08-1:17 Loses double tracking | 1:47 | Talking during end of guitar solo 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 | 1:32 | Talking in solo 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 | 0:59-1:14 | Rhythm guitar breaks up badly - more obvious on stereo than mono 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. | Devil In Her Heart | Punch-in, right channel, at George's first solo line (not audible on | mono). | 2:04 | False start in guitr figure Don't Bother Me 0:03 Someone (George H.?) comments about it being too fast Don't Let Me Down 1:43 Just after "it's a love that has no past", a faint "Believe it/me" is heard. 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 | Drive My Car | 1:20-1:22 | Paul? sings "You can drive my car" under the last notes of guitar solo. | Listen carefully, the last 3 notes of the solo are on top of the words | "Drive My Car" 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) | For You Blue | 0:00 | Introduced with John saying "Queen says 'No' to pot smoking FBI | members". 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." 1:30-1:50 Harmony guitar line audible in right channel. Bleed-through? 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". Also heard by David Gulczynski. 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 | 0:13, 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 all of the John/Paul dialogue :- J/P) "Hey Bulldog ..." P) "Hey man" J) "What's that, boy?" P) "Ruff!" J) "Whaddya say?" P) "I say, ruff!" J) "Do you know any more?" P) "Wowowowwwaaaaa" J) Screams loudly P) "You got it, that's it, 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 / Quiet boy,quiet]" J) "Okay" P) "[Clap! / Quiet!]" Hey Jude 2:58 | The Lewisohn reference to an "undeleted expletive" :- | | Having listened to this some more, I think I've got it (finally) right | I don't know where I got the under/into line from - maybe wishful | thinking, *but* - it's like this .... | As Paul/John sing "Remember to let her under your skin", John shouts | "Got the wrong CHORD", not just "Ohhh" - the last word sticks out more | than the previous 3. If you count 1-2-3-4 through this section, you get | 1 2 3 4 1 2 3 4 1 |P/J: skin Then You Be Gi In |J: Got the Wrong Choooorrd F**king Hell > Michael Patrick observes that George lets out an unchoreographed "aah" at |> this point, this may be the word "chord". However, just after "begin" |> there is some form of edit, which causes a noticeable brightening of |> the left channel. Maybe there is a mistake in the instrumental here |> too, which was hidden by the edit?. Expletive also heard as "Need some |> help","Ok Now","Take it out" ... Hold Me Tight 0:03 and 1:11 John sings " ... right, so", and yet Paul sings " ... right, now" | I Dig A Pony | 0:02-0:09 | Count in, "1 2 3 4" | J: "Hold it!" <sniffs> | P: <mocking> "Hooold it ..." | J: "One Two Tell You" 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. | If I Needed Someone | (Sounds like George is inhaling on a cigarette throughout this song) | 0:50 | CD Version - whole track phases very slightly | 1:50 | CD Version - phases again | Apparently in some versions, both of these points have someone singing | falsetto harmonies as a guide to the next part coming up - maybe the | phasing is a by product of removing this in the CD? 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" (Not on CD) 1:05,1:43 Edit in the phrase "Love ha/as a nasty habit" 1:18 On the down beat of "were above me <here> But not today" there is a loud guitar feedback/harmonic (Left of centre) | 1:20 | Sounds like dropping of a tambourine 1:41-1:42 Two clicks (centre) I'm only sleeping 1:57 Voice says "Yawn Paul", and 2:01, he does! I'm so tired 1:05 Under the word "so" in "I'm so tired" there is a strange vocal/instrument sound. | In My Life | 1:47 | At very end of harpsichord solo, one single guitar note can be heard - | is this part of an original guitar solo? | 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, during word "see?" - sounds like "Can't you | see (it)" because of a strange sound at this point. 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" | It's Only Love | 0:41 | LP - word "only" loses double tracking. Intentional, as on the CD this | has been left in and the timing of "only" is out of place. I've got a feeling 0:05-0:06 CD release makes fade in of Paul's vocal very obvious, with a copious amount of "hiss" 3:18 Some discussion over whether John says "Oh yeah" or "F*ck yeah" arose. Sounds like "Oh Yeah", but with a laugh in the middle of the phrase. | I've Just Seen A Face | 1:02 | In harmony track, audible "Yes ... pop a lop top" over guitar solo | I Wanna Be Your Man | 1:14 | Solo taken from live take, and has rest of group in background. Also | some talking evident on end of solo (right channel) 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 John's/George pickup?) 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/Laurent Cerveau agreed on this. 4:32 (Left channel) "Turn it down man/mal" 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, | possibly "Stop, John" 2:58 Piano chord under the word "Mother" is wrongly played, and quickly corrected. | Little Child | Stereo, right channel. Harmonica solo contains bleedthrough of the | band, as this was from a live take. | 1:12 | Cuts out again at end of solo 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..." | 1:10 | Odd sound, just before call of "Rita!" (Right channel) 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. 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 | 1:21 During the line "Writing fifty times I must not be so" Paul laughs. I think someone in the background is distracting him. Michelle 0:45 'Fwip' in the word "say" | 2:27 | Left ear - cough - not audible on CD,as vocals are dipped off. | Money | 0:06 | Lead "Crunchy" guitar editted in mid strum (mono only) | Mr Moonlight | Another squeaky bass pedal on the drum kit (most way through) | 1:37 | Someone sings a quiet "reference" note for the chorus coming back in | 2:27 | Stray organ riff under second "light" - only in stereo 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" Nowhere Man 0:19 (CD Version) The reverb and effects on the CD mixes are often re-created. Here the reverb drops off completely through the words "point of view, knows not where he's ..." | 1:04-1:07 | "He's as blind as he can be" after guitar solo is very phased on LP. | CD version obscures this | 1:51 | Aaah--la-la-la - one incorrect note in harmony, makes a very strange | chord ... 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. Also Paul: "Yeah" John: "Great" 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 0:02 Most certainly not "Take 18" punched into the tape (Lewisohn). Sounds much more likely to be "aah, Take Two" or "<r>ight Take Two". 0:08 "Go On!" prompts an unidentified voice to get the "washboard" sound underway! 0:46 George Martin counts in the brass section with a very sharp "Wun Two | Thri Fuh" (sic) - just like on SF bootlegs of the orchestra parts only! 3:43 Brass section etc cut off by guitar riff introduction as song ends. This must have been added over the brass section due to shortage of tracks 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 | 1:46-1:51 | Piano drops out abruptly at 1:46, and returns with edit noise at 1:51. | Clearer on stereo than mono, but still evident 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 Run For Your Life 1:06 (Vinyl only) Muffled thud of a microphone being hit at the end of the fourth bar of the 6 bar guitar solo. Cleaned up for CD release! 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 | Sexy Sadie | 2:29, 3:00 | Pitch of piano (whole track?) noticeably flattens. Sgt Pepper's Lonely Hearts Club Band 0:09-0:10 "Roll over boys / Roll over Maurice", heavily reverbed, just before | vocals start. (Paul) 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 1:56 Right channel - The guitar ends very abruptly, as if editted off. 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. | Something | 2:42-2:47 | Listen, very low in the mix, George starts to play a little 4 | note riff which causes him to miss his start point, and so the real | line fades in a little late! 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. | From bootlegs, this seems to be "that's terrific","here comes the | 'weeoo' (referring to the droning guitar note. 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? Also, the lyrics on the CD liner are "So Captain Marvel zapped in right between the eyes". It sounds more like "For Captain Marvel zapped him right between the eyes". The End 0:28 Someone counts "6," counting the measures of the drum solo. | The Long and Winding Road | 0:18 | Microphone thump after "disappear" | 1:53 | Click in vocal track The Word | 0:02 | Sharp intake of breath (right channel) | 1:36 | Light drum clatter (right channel) | 1:47 | "It's the" versus "'nd the" | 2:09 | Some talking, right channel (CD only) | 2:15 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?) | 2:29 Cough during fadeout - most likely John, after that vocal! | Two Of Us | 3:05-3:07 | Counting of beats to mark time, soft "thump thump 3 4" audible 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. | What You're Doing | 1:01 | Paul sings "Please ... stop your lying". Backing sings "You!" | 1:05 | Paul sings "You ... got me crying". Backing clearly sings "Oo!" 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 - "As we | live, a life of ease" are only in the mono mix. 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 Can't Do That | 1:23 | John's guitar changes tone on the pause before "Oh ..." in preparation | for the solo, or possibly a bad edit. 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 1:05-1:07 Paul sings "But I'd get turned away" or "But I get turned away", not as often documented "But I could turn away". | 2:32 | George (?) says something (Right channel) Sounds like "Y'row" 3:16 Double Click (Left channel) ----------------------------------------------------------------------------- I'm sure there are more. If you happen to hear any, let me know! Thanks to those who contributed to this list: Matthew Rupert Michael Bain "Bill W" at Pittsburgh Laurent Cerveau Gene Schroeder Robert Berry Joseph S. Dalfonso David Gulczynski Jay Smith Greg O'Rear Doug Campbell "LittleAbby" Dees Frank Daniels Steve Barclay Preston Landers Michael Patrick Michael Lane Andrew Walker Joe Pisano Lee Kirk Hawley Kai Lukoschek Jim Vegeais Larry Micohn Jay Kuhn Benjamin Lukoff Timothy Jehl Edward Michalak Benjamin Chapman Tim McCormick Justin Kelley Daniel Caccavo Josh Dalcher "ScullyDana" Jeff Coleman David Sheatsley Ken Davis Melanie Thomasson David Coyle Greg Thompson "MesrsKandH" Heather Johnson Glen Heffner "Empress82" Ken Goldwasser Pierre Bouchard Gabe J D Mack Special thanks to: Saki Michael Weiss Joe Brennan Andy Van Pelt And now, a word from our legal department: Copyright (c) 1993,1994,1995,1996 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 "A Day in the Life" and the last lines beginning with and including the line beginning "I'm sure there are more others," including this copyright notice, are all included. Any reproduction that is not a complete document must be labelled as such before distribution. Any changes made to the document must be labelled 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 without prior written permission. <end> -- Michael Brown (root@pootle.demon.co.uk) C++ and Lemming Consultant