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Anomalies A
Across The Universe
0:00 [Let It Be version]
The attack of the first note of the guitar is clipped off.
2:28 [Past Masters Volume 2 version] Listen!
After the line "inciting and inviting me", a bassy, soft male voice in the
right channel says something like "Hit me with a pizza". OOPS brings this out
better than listening to just the right channel.
Act Naturally
1:59
Right channel, the backing vocal comes in late, on the words "you come..."
2:18
The right hand harmony sings "All I gotta do is, act natch" and is then cut
off by the guitar riff.
2:25-2:26
Numerous rattles and hisses in outro, both left and right channels. John
almost entirely misses the last strummed acoustic chord!
A Taste Of Honey
1:43
Where John and George respond to Paul's "I'll come back", George (higher
harmony) only seems to manage "ll come back". Maybe he wasn't sure as to whether
it was "I'll", "He'll" or "You'll". John's voice is the low harmony.
All My Loving
Right before start
Parlophone Stereo LP PCS3045 "With The Beatles" has an audible ghost of the
opening "Close your eyes" phrase. This may be print-through in the master tape
used to make the master disc, but it is possibly a mechanical effect of the
stylus picking up the next groove along on the record, in the background.
Certainly, this is not audible on a CD. It may happen with other tracks too, but
on vinyl only.
1:02-1:11
Cymbals get louder for a few bars, but only for part of the solo.
1:19
Really bad (very unusual) mistake from Paul, he plays a completely wrong
note in the bass line on the word "miss". It sounds like he may have played the
next highest string up by accident, the note is very very sharp!
1:51-1:54
Paul's "All My Loving" may be edited (mono and stereo versions), it is
preceded by a vocal noise (this noise is audible in the right channel of the
stereo version).
2:03
Possibly paper rattling.
Another Girl
0:20,0:36
Stray electric lead guitar notes.
1:03
Subtle drop in the cymbal ring, and the volume of acoustic guitar, plus a
click. A possible edit?
Any Time At All
0:04,0:41,1:18,1:49
Note that although John sings the lead vocal throughout the song, Paul does
the second "Any time at all" every time. This is often not noticed.
0:14
Click, and a time lag in the guitar rhythm. Maybe there's an edit here?
0:38
Edit between "at" and "all". The acoustic guitar strum becomes heavier, and
the bass guitar gets louder here.
1:29-1:35
Discrepancy between guitar chords and keyboard chords (second and third
chords of the run differ).
1:32
Talking during solo.
1:48
Edit in cymbal track.
1:59
John flubs the vocal, missing the first "Any" on the double tracking.
2:07
Tape wrinkle at fade out, although this track is mono, the stereo image
wobbles.
Ask Me Why
0:31, 0:40
John's voice cracks on "makes me cry" and "if I cry".
What is it with John and the word "cry"? In "I Am The Walrus" he struggled with
"I'm crying". In "I'll Cry Instead", an edit was performed around the word "cry"
(1:10). Now this!
Anomalies B
Baby It's You
Whole Song, most audible 0:00-0:10
Kick drum pedal squeaks yet again! Listen just after the "Sha la la la la!"
1:43
John or George does a "Sha la la la la" very quietly after the main one, as
if there was going to be a run down into a new verse here. Just audible on mono
version, clearer on stereo.
Baby's In Black
1:30
Bad edit in the words "Baby's in black". Best heard in the stereo version,
right channel. The strummed guitar appears out of nowhere here, further
enhancing the edit. Also, the maracas and bass jump up in level.
On the mono CD, this is corrected, but there is a stumble in the drumming at
that point.
1:44
John and Paul harmony error.
1 says "And though he'll never come back..."
2 says "But though she'll never come back..."
1:51
A third voice trails a faint harmony in above the other two just for the
words "dear, what can I do, baby's in ... feeling blue". Most audible on the
word "black".
2:03
Right channel, at the very end there is a rattling of paper (after the
tambourine stops).
Bad Boy
0:50
Vocal edit after the falsetto "Oooo".
1:59
Last note of the downward guitar riff is very dead (right channel), only the
double-tracking helps to hide this.
Because
0:00
First note's attack is clipped off, making it sound different.
Birthday
0:14,0:17,0:21
Fairly audible noises from the lead guitar, the strings aren't quite muted,
and are making scratching noises.
0:24
Bass guitar pans to the right and then centres again.
0:36
Stereo glitch, this is a fault in the master tape. Occurs on second note of
guitar riff, and it wobbles the stereo field. Listening in OOPS, you should hear
a brief "crunch" noise here, as the damage goes by.
0:46
A second tambourine rattles, under the existing tambourine pattern. This
extra tambourine is in the widely spaced vocal track.
0:42-0:47
Whispering between vocalists. You can then hear Paul counting (screaming!)
the bar numbers from 1 to 8, up to 0:56.
1:34,1:37
Reported as "female voices" mocking Paul for saying "Come on", and then
saying "Birthday". Actually, this is all Paul. He says "Wooh!" (1:28), "C'mon"
(1:31), [unintelligible, possibly edited] (1:33) and "Baby" (1:37 in a falsetto
voice).
1:45
One of the guitars misses the first note of the riff.
1:46
Click, to the far left.
1:49
Shaker (cabasa?) rattles on into the "guitar only" section.
1:52
The first note of second phrase in this section is quite out of tune.
2:08-2:10 Listen!
Previous take's "dance" shows through, resulting in Paul ending up singing
"Daaaannceee/oo/aaaance". Barely audible in mono mixes, there's too much other
audio in the foreground.
2:12
Strange clonk, centred, almost like a cowbell.
2:37
Laughter after the drumming stops.
2:38-2:39
Tambourine rattle and two odd clicks at fade out.
Blackbird
0:00
Right at the very start of this track someone says "play" in a high pitched
voice. Graeme Jamieson points out that this should be on the end of I'm So
Tired, and is only here due to poor mastering when making the CD. It's in that
"pre-gap" area of the track, where your CD player normally counts backwards into
the start of the song. See the entry for "I'm So Tired".
Whole Track
Often misreported as "Paul's foot tapping" or "clicking", this is a
mechanical metronome, which is used to time the song. Listening carefully, there
is a "clip-clop" two tone sound to it. This is so that you can tell between the
up and the down beats of the rhythm.
In the middle break where it stops, it is faded out over two beats (the song
slows down, but the metronome can't). It's not switched off. Some people report
it being switched back on, due to a click at 1:41, this is really a creak from
the guitar.
Counting beats across this section in an audio editor shows that the metronome
never stopped, never slowed, and didn't miss a beat, despite the fact that the
guitar playing does slow down, break, and restart.
It was deliberately recorded, it's not leakage into the guitar mic (otherwise it
couldn't be faded out for the ritard in the middle of the song).
Boys
Whole Song
Ringo's bass drum pedal is squeaking most of the way through the song.
(Quite audible at 0:29-0:30 where the backing is quieter).
Anomalies C
Can't Buy Me Love
0:45
One low string on the acoustic guitar is flat. Most obvious at this point,
but it can be heard elsewhere. This is under "Everybody tells me so".
1:16-1:25
Guitar solo - there is a second solo in the background! This is apparently
leakage from one of George's "atrocious live solos" he played when it was
recorded in Paris.
1:27
Shouts of "Hey!" in the background.
1:56
Stray vocal note "Mmmm buy me love".
2:02
Stray "Can't" that never got double tracked - this has been wrongly
suggested as a "mmm" at the end of the preceding phrase "buy me love-mmm".
Stereo version makes this clearer?
Chains
0:30
Reported as "bad sibilance on the word Chains", this has possibly been fixed
in some mixes. Sibilance is that nasty "SSsshh" that you get on some "s" sounds.
Unfortunately, the whole song seems to have lost its "s" sounds, and maybe this
is why, i.e. "Chain. My baby got me locked up in chain" (Mono CD mix). There
also seems to be a hi-hat embedded in the word, making it sound like "a-Tain".
0:51
Faint click here, maybe a guitar tone switch flipping?
0:59-1:14
Rhythm guitar breaks up badly - more obvious on the stereo version than
mono.
1:27
Maybe John - "S'at enough?"/ "S'at the rhythm?".
Come Together
Throughout
Sound of the drum snares rattling fades in and out - it sounds like the
engineer trying to minimise the rattling caused by Ringo's drumming, only fading
the snare back in when needed. There is still a small amount of bleed into the
other drum mics though.
0:35
Left channel, loud fret squeak.
1:27
Someone shouts "All right" in the background before the line "He bag/bad
production" (Listen on right channel). This may be a guide vocal leaking through
from when the drums were recorded.
2:02
Someone shouts "All" before John's "right" (right channel).
2:27-2:28
Clicking sound (left channel, twice).
2:30
Shout of "Look Out!" before the line "He rollercoaster" (again, right
channel).
2:50
Shout, or more of Lennon's guide vocal.
3:08
Out of tune stray guitar note, centre.
3:13
Shout, like "Yaaah!"
Anomalies D
Day Tripper
0:05-0:06
Click, centre.
1:20
Right channel only, someone shouts "Hey!" right before the solo starts.
1:40
The note progression that starts at 1:21 in the left channel (guitar) seems
to cut off very abruptly at 1:40, as if excess was edited away.
1:50, 1:56, 2:32
There are three 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"
as we plunge into the dropout. The dropout at 1:50 punches the sixth note of the
riff out, 1:56 punches the first note of the riff out.
2:06
1st voice: "She was a daaay tripper, Sun-day driver yeh"
2nd voice: "She was a daaay tripper, One-day driver yeh"
John is still thinking "one-way ticket yeh" and half-sings it!
2:40
Paul's bass line gets stuck, gets stuck, gets stuck, gets back into it.
Dear Prudence
1:45 (Left)
The bass guitar is tapped for two notes, and struck for the third during the
quiet break here.
2:05 (Left)
The solo electric guitar, which faded out at 2:00 reappears here as if the
fader was brought up too soon.
2:07, 2:11 (Left)
Rumbling or sliding sound, followed by bump noise. Probably accidental
sounds from the bass guitar.
2:10-2:11
Leakage of picking of an acoustic guitar (centre) during quiet spot. Whether
this is the "unprocessed" sound of one of John's guitar tracks that we can hear
on the right, or whether it is a guide part, I don't know.
2:38-2:39
Slight hesitation in the bass guitar part, as if Paul was going to go for
one more go at his descending riff, than realised to change patterns. One note
is late while thinking about it.
2:50
Bass guitar tone changes suddenly to a woodier sound, and it carries on to
end of track like this.
Devil In Her Heart
0:25
Somebody in the backing vocal enters at the wrong note and quickly corrects,
scooping upward.
2:04
Accidental early start to the end guitar figure.
Dig A Pony
0:02-0:09 Listen!
Unknown voices from the film crew
"Rolling?"
"Yeah!"
"Ok!"
John: <Count in> "Ah 1 2 3 er".
Ringo: <slightly off mic> "Hold it!"
John: <sniffs, close on mic> "Aaah."
Paul: <mocking> "Hooold it ..."
John: "Ah One Two [Tell You]?"
(a play on the title "I Want To Tell You"?)
Despite the count in measure being 4 beats, the song is in 3/4 time. The false
'fourth' beat is the downbeat of the next bar, coinciding with the bass note,
and the second word of "Hold it".
1:42
Left channel, there's a click and small change in guitar sound - possible
drop in or edit?
2:10
Paul's voice cracks on high harmony, "Be-c .. ooh!"
2:41-2:42,3:03
Two plosives in John's mic/vocal on "indi[c]ate every[th]ing" and "[b]oat
you row".
3:45-3:53 Listen!
John says: "Thank you, brothers. Me hands getting er... too cold to play the
chords". Edited in from the rooftop performance.
Don't Bother Me
0:03
Reported as George Harrison commenting about it being "too fast". Also
reported as George saying "B-flat". I can't hear anything clearly, just a vocal
"aa" sound.
Don't Pass Me By
0:07
Left channel, someone shouts something, like "Hold up!"
1:48
Most strangely, an alarm bell goes off in the middle of "unfair" (right
channel).
2:39-2:48
Someone (likely Ringo) sings out the beats from one to eight, and then
shouts "ooop" (right channel). At the same time John says (left channel) "Give
it some more!" (Level ? More of the song ?)
2:54-3:23
The structure of the last chorus is slightly different to the others. Max
Mismetti notes that at least part of this is because of a mistake (anomaly!).
On Anthology 2, I found the answer! Apparently, Ringo recorded the basic track
and forgot the order of events on the end, or he made a mistake on the basic
track and wasn't feeling like recording it all over again. So he sang normally
as if the mistake hadn't happened, but on Anthology we can hear the piano
better. The song chords are C, F and G. The mistake can be seen because the
piano has its chord change delayed 1/4 of bar (between brackets is where it was
supposed to be)
C(correct)
Don't pass me by, don't make me cry don't make me blue
(F) F
Cause you know darling I love only you
(C) C
You'll never know it hurts me so
Drive My Car
0:16
Click (right channel), not audible on mono version.
0:20
Harsh edit, right channel, as piano comes in.
0:44
Guitar fret-squeak sound, right channel.
0:52
Strange 'peep' (on the right channel) as the piano comes back in. Not on
mono version. Probably from George's guitar.
Also George Martin hits one note too many, making a duff chord on the second
chord of this chorus fill (the chord that comes on the downbeat). Quickly
corrects it, though.
1:20-1:22
Paul? sings "You ... can ... drive my ... car" along to the last few notes
of guitar solo. Listen carefully, the last 3 notes of the solo are on top of the
words "Drive My Car". Very hard to hear on CD version, this needs the vinyl
version.
1:42-1:53
Centre of stereo field, right after "start right away" and each subsequent
vocal line there are a number of stray guitar notes, as if the guitarist is
idling, unaware they are being heard!
1:46
Paul fluffs the bass riff and plays a "safe" note instead.
Anomalies E
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, except at
0:46, for "Father McKenzie".
Fixed in Yellow Submarine remastered version.
1:19
Right channel, "lo" of "lonely" is sung on the wrong note.
Fixed in Yellow Submarine remastered version.
1:29
Left channel, click.
Fixed in Yellow Submarine remastered version.
Flying
0:14-0:30
Faint maracas on right, before they join in proper at 0:31.
0:18-0:21,0:29-0:31
George can be heard tapping along in time, between guitar passages ("Knock-a
knock-a ...").
For No One
0:58.5
Reports indicate that in the horn solo, a possible punch-in occurs. A glitch
in the sustained tone before the final flourish gives it away. However, it has
been strongly suggested that this was a playing technique of the hornist, as it
also happens in the Give My Regards To Broadstreet version.
It is further observed by Ugo Coppola, that
In The Complete Beatles Chronicle, Lewisohn says that the hornist, Alan Civil ,
recorded the whole solo eight times, wiping over the tape with every try. No
punch-ins or edits.
Chris Chardi adds
The noise you hear in the middle of the french horn solo may be due to a
technique called "circular breathing." It is used by brass and woodwind players
so that they can play long lines more fluidly without having to stop and take a
giant breath. Given the peerless fluidity of Alan Civil's solo, I think it's
very likely that this is what happened.
1:31
Reported as "track volume goes down a notch", I can only assume this is
because the bass guitar sound becomes thinner. It loses the low-end punch from
here, just slightly, all the way to the end of the track.
From Me To You
Whole Song
Ringo's kick drum pedal squeaks (left channel in stereo versions). Obvious
around 0:50-0:55 and 1:32-1:34 in mono version.
0:28
John sings "So call on me", Paul sings "Just call on me".
1:43 to end
Bad edit, this is only in the Capitol "Beatles 1962-1966" album. The
harmonica goes out of time, and the vocals suddenly double track (left channel).
Anomalies G
Get Back
Most of this applies to the "Let It Be" version, especially timings.
0:00-0:20 (Let It Be only).
Introduced 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 "The
picker ... picks for the fingers, great!" and a quiet "1-2-1234" count in, a
"Get in!" and a "Level John!"
According to two reports, "picks for the fingers" is in fact "Picture the
fingers going". John is apparently motioning with his hands at this point on
bootleg videos of the rooftop concert, although another report states that this
chatter is from a studio recording (January 27th), and so what is visible in the
rooftop video at this point is of no consequence. It is more likely John was
talking about/asking for a plectrum (a pick), to save his fingers.
1:19 (Let It Be, 1:00 on PM2)
Lead guitar (left channel) breaks up, when both John and Paul sing "Get back
... belonged".
2:31 (PM2 only)
In the quiet break, after "once belong", and just before Paul's "oooh",
someone speaks. It sounds like maybe George saying "Let's give him some Night
Nurse" - Night Nurse being a cough/cold remedy. Paul's voice does sound a bit
odd on this track, maybe they were joking about it! Also reported as "It's
giving him some nightmuures" (Liverpool pronunciation of nightmares), and "Let's
give it some might, guys".
2:55 (Let It Be only)
Outroduced with a policeman (from the "on the roof" session) saying "I'm
afraid it's just too long", telling them to wind up the gig. This is edited on
from the rooftop performance, as is Paul's "Thanks Mo!" (to Maureen Starkey),
and John's "I'd like to thank you on behalf of the group and ourselves, and I
hope we passed the audition".
Getting Better
0:00-0:02
Someone gives a count in for the vocals. Other talking evident on left
channel.
0:13
The word "teachers" has a double-track sound to it, as if an overlapped edit
was performed. I'm sure Paul can't sing two notes at once like this! Listen for
a lower vocal note than the one Paul sings, on the first syllable...
0:21
Distortion on the word "up".
0:28
More audible on right channel, edit in the word "Bett/ter".
0:34
Right channel, someone shouts "Better" under Paul's vocals.
0:43-0:44
Right channel, rising whistle, and a click.
0:56
Paul makes a verbal slip, "And you're doing the best that I can".
1:04
Odd sound (same as 1:26).
1:05
Centre, loud click.
1:07
Electric piano and cymbal/hi-hat do a "double skip", left side, as if it's a
faulty edit. Doesn't sound intentional.
1:10
"Shhh ..." or intake of breath, right channel.
1:21, 1:26, 1:33
Sound (right channel). Coming from the guitar, possibly a faulty
amplifier/cable, or maybe a very scratchy picking action!
Girl
0:24, 0:54, 1:24, 1:54, 2:25
William Newman writes
After the word "girl" is sung in the chorus, there's a breathy sound. This sound
is John smoking a joint. The sound varies and sometimes he's really gettin' down
on it.
Well, it beats the usual explanation of John expressing his angst over this girl
he's singing about! I'm not sure how accurate it is, though!
0:09, 0:37, 0:49
There is leakage of an acoustic guitar or bouzouki on the right channel. The
instrument is not actually being used in the mix at this point. It's probably
coming through with John's vocal, after the line "girl who came to stay" (0:09),
and "to cry ..." (0:37), and "why ..." (0:49)
0:59
Right channel, someone (John?) coaches "tit tit tit" for the backing vocal.
1:30-1:50
In addition to the bouzouki line here, there is leakage of a harmony
bouzouki line (as found at the end, 2:00-onwards, placed in the left channel).
The harmony line is playing twice as many notes, and sticks out over the main
bouzouki line. Maybe it was recorded both times, but mixed out later. Not as
clear on CD, this has been fixed.
1:54
A few quiet bouzouki notes, right channel. Also reported as piano notes
(there is no piano on this track), or sound of a guitar being put down or picked
up.
Glass Onion
0:00
John sniffs loudly!
0:05-0:06
After the line "told you 'bout Strawberry Fields", someone sings "for evah"
in the background.
0:51-0:52
Two clicks, one during "yeah", one after.
1:00
"Oh" in a high pitched voice during the gap.
1:19
Piano chord cuts off abruptly just before the drum taps, highlighting the
edited-together nature of this song! Maybe this is to delete a sound effect: See
the Anthology version where there is a pinging bell at this point in the track.
1:26
David Vegafria writes
The bass line in Glass Onion is very syncopated - it also is pretty rigid, he
maintains the point where he starts, and never skips a beat that should be
emphasized. At 1:25 he skips a full beat at the beginning of "I tell you man..."
after listening to the song several times, I can't find an instance of a pause
that long that isn't *obviously* supposed to be there.
1:38
Edit in right channel, affecting drums (at the point where the crash cymbal
suddenly appears).
1:45
After "dovetail joint, yeah" someone shouts "hey!"
1:49
Left channel, a click from the bass guitar. This is an edit to the end
piece.
2:16
Some reports say that the tape is slowing down at the end of the song, but I
have a horrible feeling that it was actually played this way. The very very last
second (almost inaudible without processing) may be a tape machine being
switched off, but I'm not convinced.
Golden Slumbers
1:23
Click, centred, but more audible listening to the right channel only. It's
during the word "Darling".
Good Night
0:21,0:28,0:42,0:58 and too many others to list
Clicks in centre of stereo field.
2:04-2:11
Ringo sings "Close your eyes and I'll close mine", but the backing sings
"Now it's time to say Good Night", elsewhere the vocals match correctly.
It has been suggested that this is intentional. Ugo Coppola writes
This is Ugo from Italy ... in reference to your Good Night (White Album) note
... I don't think that's an anomaly at all. I think it's intentional. Here in
Italy there are lots of singers who sing something over a choir or some backing
vocalists who sing something else on the same melody, especially in ballads or
melodic songs in general. Umberto Tozzi, Raf, Laura Pausini, Claudio Baglioni
and Lucio Battisti all do this.
Also Buddy Holly's "That Will Be The Day" (backing continues "That'll be the
day" while lead sings "Say You're Gonna Leave").
2:36
When Ringo sings "Dream sweet dreams for me", his voice cracks on "for".
3:09-3:11
Really hard to hear, there's a metallic "ting", and a voice, and a creak
remaining in the fadeout.
Anomalies H
Happiness Is A Warm Gun
0:43
Chewing/mouth noises, centre.
0:57
The engineer mixing this song brought up a track too quickly. Originally
John sang the "I need a fix" section twice, but the first was supposed to be
left out in the release (replaced by a guitar). The end of the first "down"
ended up on the master by accident. Not present in mono mixes.
1:34
High pitched titter from the "female" backing voices. Caught unawares by an
early drop-in? This has been attributed to John saying "shoot" or "sh*t".
1:47
"When I Hold You..."
The tempo changes into something like 6/8 here, but Ringo continues in 4/4.
Not sure how this happened.
Two possibilities - they were doing something clever with arrangements by
overlaying 2 rhythms. Or, at the time the drums were recorded, they intended it
to be in 4/4 and changed their minds later. It's clever.
There's a Queen song "The Miracle" where the song ends and goes into a
guitar/bass/drums solo fade out, and a piece fades in over this at a different
tempo and knits at key points (especially the start and end) so that it transits
to a slower tempo without you really noticing.
In the light of the "Mother superior" bit, which has an odd beat pattern of 3 6
3 7 3 6 3 7 3 6 3 7 beats, it may be intentional.
Max Mismetti mentions that John did this sort of thing on a few occasions.
Examples include Anthology ("Remember" - starts singing at an odd time measure),
also Across The Universe (various takes, starting in odd places, running into
verses without the expected pause).
2:21 Listen!
Print-through of the word "Gun" a split second before you hear it at full
volume.
Hello Goodbye
1:15-1:16,1:30
Handclaps, which seem to mark out the start and end of the solo area.
1:54-1:55
Right channel - a clicky sound as John and George's voices are punched in,
possibly from the echo unit.
2:05
Right channel - someone hits something, viz. "I can stay 'til it's time to
go [BANG clatter]". Also background hiss reduces as the vocals are taken away
here. Throughout 1:54-2:05, headphone leakage of other instruments increases
with the new vocal tracks being added.
Help
0:20
Double tracking timing error on word "way".
0:26
Shout, just before backing vocal sings "find", easier to hear on right
channel of the stereo version.
The mono version has the intro spliced on. The vocals differ between the mono
and stereo mixes.
Danny Caccavo adds this
Here's more about the mono mix.
Whenever you hear the guitar run, there's an edit which cuts out the band
hangover (cymbals) and the thumping on John's acoustic guitar. "Won't you (edit)
please, please help (edit) me". On the second edit, the band returns, and the
guitar run stops suddenly.
These edits are not (unfortunately) on the stereo mix. They are quite effective
on the mono.
Also at the end on the mono mix, there are three "Help Me"'s. Note that the
second one is "Help" (Paul/George) and "Me" (John). On the stereo, John's voice
is double tracked, so you lose the back and forth effect (highlighted in the
film "Help" - note how it is edited back and forth)
Glenn Koury also notes
The anomaly is in the tempo of one phrase in the first verse. The line is "Now I
find I'VE CHANGED MY MIND". In the single version of the song, the tempo of the
vocal phrase I'VE CHANGED MY MIND is evenly spaced, with MIND coming right at
the downbeat (actually, a 16th beat before). In the album version, the phrase is
double-timed, with MIND arriving on the upbeat. Also, in the album version, the
phrase is repeated at the END of the song, and there, it is the slower,
evenly-paced tempo like the single version (and thus inconsistent with the same
line at the beginning of the album).
Helter Skelter
0:00
On the first note of the riff (after the guitar slide down) there is a
definite fault in the track that sounds like a CD-copying error. Looking closely
there are a bunch of "noisy" samples in the left track only, followed by a bunch
in the right track. This has been reported from a couple of people, and would
seem to be some kind of digital mastering error.
0:02-0:03
Right channel, you can hear two faint taps that count in the vocal.
0:03, 0:05
Stray noise, twice the same sound, may be guitar, may be vocal.
0:18
Paul laughs the "Do you ..." (probably still got the giggles from the
previous "Yeah yeah yeah ahaha ...")
0:46-0:48
The reverb on Paul's voice drops out completely, his voice sounds much
smaller for this one line.
0:50
Glasses or a bottle rattles for about two seconds, right channel.
1:24-1:25
Again reverb disappears on Paul's voice for one line.
1:31, 1:34, 1:38-1:46
Squeaks, sounds like a child's toy. It may be a manipulated vocal.
2:15-2:19
Paul's vocal moves around the stereo image, panning slightly left.
2:24-2:25
Again the reverb disappears on Paul's voice for one line. Were these
punch-ins to fix an errant "Helter Skelter", and no reverb was applied (to make
editing in and out easier) ?
2:44
Paul sings "Yes she is, coming down fast" and then (closer to the mic at
2:49) "Can you hear me speaking? Whoooo".
2:57-3:09 Listen!
Paul says "Listen, shall we hear that, see if the [sings] eeee's onnn...",
and then says (3:04) "Are you coming, son? I saw you do that you little
bugger... (3:08) Put yer bloody hands on your head, c'mon".
Hard to hear, again OOPS helps to remove the loud guitar part that masks this.
There's also quite a bit of clicking and scratching in the track here.
The famous "blistery shout" (Listen!) is preceded by John's voice asking "How's
that?". The shout itself is from Ringo. This section is missing from mono mixes.
Popular folklore says that this shout is because Ringo had drummed for 27
minutes on this take, and that what we hear on the White Album is a condensed
version. It seems this is not quite true.
JWB writes to tell me
The 27 minute take was a completely different version (another take of this
version is on Anthology 3) that was never released. The White Album version was
only about 5 minutes but they did several takes.
The 27 min take (takes 1-3) were July 1968, the remake session was September
1968 (takes 4-21). Take 21 is the version found on the White Album. I guess the
blisters were from 18 takes of 3-4 minutes each. Take 21 was considered best and
work progressed from there.
Her Majesty
0:03 Listen!
Left channel. Various reports that either :-
A female, vibrato voice sings a note.
A sped up male voice sings a note.
A Moog synthesizer note trails off from "the loud chord".
Or possibly a cartoon "boing" sound effect happens.
Hey Bulldog
0:00-0:05, 0:08-0:11
Right channel, clicks of drum sticks. Also snares on drum kit rattling in
sympathy with the rest of the guitars etc. Also you can hear John/Paul "ruff"ing
along as a count in. Partly fixed on remastered Yellow Submarine version.
0:52-1:04, 1:52-2:04, 2:22-2:32
Some people note strange sounds in here such as "Paul heavy breathing",
"John breathing hard" etc. However this is the sound of the snare through a
delayed reverb, and is intentional. "Thwack-ahhhhh".
1:04
Sharp edit in the guitar track, to put solo in?, cutting in after "talk to
me" and apparently ending at 1:32 in a click.
1:13-1:31
I've received reports of shouting and talking here, but I'm sure these are
intentional. Running around chasing dogs/being chased by dogs etc.
1:32-1:33
Left channel, a click, then someone "Whoops", as Lennon sings "Big Man", and
in the left channel Ringo shouts "Yeah?"
2:33-3:04
The book "The Beatles Lyrics" has the words wrong to the ending. Most
interestingly, they don't include all of the John/Paul dialogue
J+P) "Hey Bulldog ..."
P) "Hey man"
J) "What's that, [boy/Paul]?"
P) "Ruff!"
J) "Whaddya say?"
P) "I say, ruff!"
J) "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" [also heard as
grandchildren]
J) Screams hysterically
P) "[Clap man, clap / Quiet boy, quiet]" [unclear]
J) "Okay"
P) "[Clap! / Quiet!]" [unclear]
These last couple of lines ("Clap man, clap") are obviously Paul's voice,
however the Yellow Submarine animation shows John singing them. Animator's
error?
3:06
Total drop out in right channel. Some people report that this is fixed on
remastered Yellow Submarine versions, others still hear it! Seems to be a
reaction to Ringo's snare (maybe a limiter kicked in to hold back the signal).
Hey Jude
0:06
Centre - someone rattles a tambourine.
0:21-0:22
Strange vocal noises during singing, almost like swallowing while singing
(clever!) This has been picked up as "more tambourine rattling". True, there is
more tambourine rattling just after "start", which wasn't listed. But the vocal
anomaly above is during "make it". Might be some strange effect of Paul's throat
being picked up by the mic.
2:12-2:15
George plays his riff that doubles the "Da da da daaa daaa" phrase here -
this shouldn't happen until the end of the verse. George stops short of
completing the riff.
2:17
Right channel, a high voice (female? Paul's falsetto?) talking - sounds like
"Love You" - on the words "Just You". This may be Paul's vocal coming through
from the piano track.
2:52-3:02. 2:58 mostly Listen!
This is Mark Lewisohn's "Recording Sessions" non-specific reference to an
"undeleted expletive".
As Paul and John sing "Remember to let her under your skin", John shouts "Got
the wrong chord!", (maybe in response to the clunky dead chord at 2:53-2:55) the
last word sticks out more than the previous three, and then swears.
If you count out loud 1-2-3-4 in time to the rhythm 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 chord F**king HellMichael Patrick observes that
George lets out an unchoreographed "aah" at this
point, this may well be him hearing the word "chord".
However, just after "begin" (to make it better) at 3:00 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" and many
others.
As an alternative, but probably less accurate, explanation
wa3dhb@bellatlantic.net adds
I found this bit of info on whitealbum.cjb.net. The person who says "F*cking
hell" in Hey Jude is John Perry from the group Grapefruit. He says he came into
the studio, and Paul told him to put on headphones and do backup. He did, and
the headphones were on very loud, so he shouted "F*cking hell!"
I find this hard to believe, as it doesn't explain why John Perry "Got the wrong
chord!" Maybe he was heckling John for getting the chords wrong. I also find it
amazing that people can wander in and out of the studio during a take, and are
unprofessional enough to potentially spoil a take by behaving like that. He
won't be invited back! No, I'm not buying that one ...
3:12-3:58
Right channel, lots of shouting from Paul, all very much off microphone for
quite a while before it is mixed in to the centre at full volume. "Make it
[better]" (3:15), lines about "making it, not breaking it" (3:20,3:36) poke
through, but they are all quite hard to hear.
4:30
Non-anomaly - often being reported as "Don't f**k about Jude". This is
really "Don't make it bad Jude".
5:37
Similarly, this is not "What the f**k Jude?" (many reports) or "Hey look at
that you idiot!" or even "play a bit of that tune", "maybe we'll go back to
England" (had this one twice) but just simply "The pain won't come back Jude".
However, on the foreign language anomaly front, V Lichere writes
Sounds exactly, with the proper accent, like the French "He, on peut partir?"
("Hey, can we leave?") Am I the only one to hear that? Is it possible?
6:52-6:54
Past Masters 2 Version, bass attempts a fancy run, but doesn't do it
correctly. Then it hits wrong note repeatedly. Finally, bass is faded out or cut
before the track finishes.
To spare any further odd anomaly reports, the full text of Paul's amazing
shoutings from where it comes in clearly at 3:58 is (approximately) ...
Hold Me Tight
Throughout
Squeaky bass pedal on Ringo's kit, best heard at 0:59-1:12, 1:39-1:50, (use
left channel of the stereo version if you have it).
0:03 and 1:12, 1:52
John sings " ... right, so", and yet
Paul sings " ... right, now"
(comes out in total as "so right, sow hold me").
Although at 1:52 there also seems to be an edit through this piece as well!
0:38
Phrasing of "tonight" as "too-night" and "t'night" varies between the
singers.
1:27
John and George's echo of "hold" is disastrous, it sounds like George
scooped into John's note.
2:00
John comes in late with his backing vocal, and there's some faint speech,
leaving a backing of "night <mumble> Tonight!"
2:21
Sudden change in the volume on the right channel of the stereo version only.
Honey Don't
0:34
Ringo's voice cracks in "Don't".
Honey Pie
0:01-0:09
Some voices audible, left channel only.
0:35-0:36
Two quiet ticks, and a stray guitar note (centre).
1:30
Two slightly out of tune (1 semitone flat) guitar notes, probably the
beginnings of the little solo that we weren't meant to hear.
1:33-1:40
Tape noise (hiss) increases during the guitar solo, especially in the right
channel.
1:58
Click, sounds a bit like a "tut" sound, centred.
2:06
Just before "Kindly send", left channel, a voice whoops.
2:21
The word "so" distorts, evidently this is one loud bit that the limiters
didn't catch.
2:39
Click, centre, in fadeout.
Anomalies I
I Am The Walrus
0:04
Orchestra is brought up too early, rattling is heard before they begin to
play (right channel).
1:33-1:35
Edit as John comes in with "yellow matter custard". Listen to the Anthology
version of this take, John's voice cracked on the last "I'm crying" (hence,
after editing, it sounds like "I'm cry"). The first attempt at "Yellow matter
custard" also fails. The take was edited to cover this. Listen to the orchestra
(right channel) and you can hear the edit clearly. There is also some drum
editing.
2:10
Left channel faded up too soon, so organ and tambourine begin before beat.
2:26-2:31,2:35
Various talking reported, this is the very beginning of the recognisable
Shakespeare "King Lear" excerpts (see 3:54)
Ugo Coppola has been doing his research, so I'll hand over to him
I checked Act IV, Scene 6 against the Beatles' recording. It matched perfectly,
of course. So now I can positively say that Gloucester says "Now, good sir,
wh[at are you?]" and Edgar answers : "[A most] poor man, made tame by fortune['s
blows]".
Both sentences are also written on page 269 (September 26, 1967) of Lewisohn's
Beatles Chronicle, where he explains how the whole thing got into the mix.
Michael K. picks up the next lines
[Who, by the art of known and feeling sorrows, Am pregnant to] good pity..[Give
me your hand, I'll lead you to some biding]
"Good pity" is the tiny fragment before "Expert Texpert".
In the above, [sections marked like this are inaudible] due to editing. However,
on the foreign language anomaly side...
Bo Sybrandt Hansen writes
Around 2:27 there are some words spoken by a male voice. These words sound like
someone in crystal clear Danish language with correct phrasing, intonation and
everything is saying
"Udmaerket, men kan vi ikke tage den lidt hurtigere?"
Translated into English it would be something like
"Quite good, but couldn't we do it a little faster?" or "Alright, but couldn't
we try it a little quicker?"
This is where the the words occur:
If the sun don't come you get a tan
from standing in the English rain
I am the eggman
(Spoken, male voice: [?] sir )
They are the eggmen
Spoken, male voice: Udmaerket, men kan vi ikke
tage den lidt hurtigere?
I am the walrus
Goo goo g' joob
No matter how much I listen I can make nothing else of the words. Do you have
any suggestions?
Shakespeare writing crystal clear Danish. Whatever next! Any better offers?
3:34-3:39
Heterodyne whistle from the radio, fading in for the ending.
3:54-4:33
Towards the end, there is talking fading in and out of the mix. It's more
sections from Shakespeare's "Tragedy of King Lear" - the scene being read is
like this ... times added as a guide
Osw. Slave, (3:53) Thou hast slain me:- villain, take my purse. If ever thou
wilt thrive, (4:02) bury my body, and give the (4:05) letters which thous
findest about me to (4:08) Edmund Earl of Gloster. (4:10) Seek him out upon the
British party. :- O, (4:14) Untimely Death!
Edg. (4:23) I know thee well, a (4:25) serviceable villain. As duteous to the
(4:27) vices of thy mistress as badness would desire.
Glo. (4:29) What, is he dead?
Edg. (4:31) Sit you down father, rest you. (Ends 4:33) Let's see these pockets,
the letters that he speaks of may be my friends.. He's dead. I am only sorry he
had no other deaths man.
So we have two sections containing Shakespeare in the song. How did this get
there? Well, it was being broadcast on the radio at the time of the recording,
and got mixed in for effect. They just tuned to a station and - there it was!
This was not a planned event, according to evidence in Lewisohn's book. The play
was being transmitted on the radio at the time the mixing was being done
(compare studio notes with an extract from the Radio Times progam listing
magazine), and was added live into the mix. This is the reason the mix slips
into fake stereo (mono through delays and filters) if you listen to the stereo
version.
It would be impossible to exactly duplicate the mix (for the stereo remix) as
the Shakespeare was not recorded anywhere but directly into the finished master.
Having said that, listen to the Anthology DVD "I Am The Walrus" 5.1 surround
mix. The final part of the song is now in true stereo, and elements of King Lear
are much clearer than the original. This must have required Apple to get hold of
the original broadcast from the BBC, or an independent archive, and remix using
the original master tape as a guide. This is something that is only really
possible with today's automated mixing technology, and would not have been
considered back then.
4:32
The whole track seems to speed up just as it fades away to nothing.
Note that Paul Simon is thought to be making reference to this song, in his line
"Coo Coo Ca Choo, Mrs. Robinson". If this is true (rather than a coincidence) he
wasn't listening to the lyrics hard enough.
I Call Your Name
0:11
Poor edit after "I Call Your Name" and before "but you're not there", making
a soft "flump" sound. This is made more obvious by the sudden appearance of a
cowbell at this point, three beats late, and also of the sudden, late double
tracking of the vocal.
0:47-0:51
George Harrison forgets his guitar figure for the middle-eight here.
1:43
Poor double track in "Oh I can't sleep at night bu/but just the same".
I Feel Fine
0:00
Red/Blue Album Capitol remix opens with drumstick clicks, and John saying
"It's not enough".
0:05 Listen!
Cough and a click sound. Also reported as "an obscenity", and "someone
spitting", "something mechanical, e.g. a WahWah pedal", "finger sliding down
guitar neck to get to proper chord" and "snares being set on or off the drums".
0:48
Most voices sing "She's so glad", one sounds like they've sung "He's" or
"I'm" instead!
0:12-0:14,1:18-1:21
Snares on the drum kit resonate to the sound of the guitar amps, before the
drums come in.
2:15 Listen!
In the fade out, people report hearing a barking dog. It's not a dog, but
Paul freaking out and making woop/woof noises. Very realistic, but no dog!
If I Fell
0:11
On stereo versions only, John's voice is double tracked here, and a timing
error occurs between the two copies of "and I".
1:45
Paul's voice cracks on the word "vain".
Mono version eliminates this by editing in another chorus, although it is
reported that the cracking is still there, I don't hear it on my Mono UK CD.
There is a quiver in Paul's voice, but not as bad a problem as that found in the
stereo mix.
If I Needed Someone
Whole Song
Sounds like George is inhaling on a cigarette throughout this song,
listening to the right channel.
0:52
CD Version only - whole track phases (flanges) very slightly.
1:52
CD Version - track phases (flanges) 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 for the CD, through overlapped editing-together of
takes?
2:08
Squeaky blip noise, just where the second 12-string guitar (to the right)
comes in for the end part.
2:18,2:19
Creaking sounds left and right.
I'll Be Back
0:06-0:08
The harmony on "break my heart I'll" is wrong.
1:37
Click after word "to" in "will try to show that" (left channel, stereo mix
only). Also, a bass flub at this point.
2:00-2:02
There's a partial fade out on Paul's voice and an almost total fade out on
the drums, leaving only John and guitar for a moment!
Victor Munoz writes
Paul has TWO tracks of harmony on that tune. He does two harmonies over John's
low harmony except for when John does his lead vocal segments. Therefore there
is no way that Paul's voice could disappear if he has two harmonies going
throughout the main verses.
Agreed, Paul has a double harmony part, but one or both of Paul's vocal parts go
weak at this point, as do the drums.
I'm So Tired
0:37
Sounds like a brief distant guitar sound (centred).
0:48, 0:51, 0:54, 0:58, 1:30, 1:33, 1:36, 1:40
Strange drum/guitar/vocal sound, like a falling "whoosh", or a laboured
breath. Occurs right after every line of the chorus, on the 3rd beat. One
suggestion is that it's a distorted guitar, hammering out a chord and then
allowing it to fall down the fretboard, and this is mixed very low or bled over
from another track.
1:07
Under the word "so" in "I'm so tired" there is a strange vocal/instrument
sound.
1:58 Listen!
Lennon gibberish. This is not backwards. Renditions such as "M'sieur
M'sieur, How about another?" seem to be reading in sounds that are just not
there in an attempt to force it to make sense. It's nonsense speak. It's pure
John Lennon.
Also rendered by Iain Tacey as
"missya, missya, how 'bout dinner huh? ..... Julian?"
To which the very last sound appears to be a child's voice which is immediately
cut. (Remember Julian would have been 5 years old then and was around John and
Yoko at that time , as pictures show).
The child's voice (I guess) being the "pleh".
The nearest I can transcribe phonetically is "Lissum, Blussak a mizure,
habuts-an-oh'en. Tidja tidja tuplay, pleh!". The final "pleh?" is often
translocated onto the beginning of Blackbird due to a mastering error when
making the CD. At a stretch, I can also get "Listen, bloodsucking m'sieur".
Whatever that might mean.
Having read the above, coopastarr@yahoo.com writes
For "I'm So Tired" you said that the 'gibberish' at the end of the song is not
backwards, well, it actually is.
No, actually, it isn't. Really, it isn't.
I have recorded and reversed it and clearly heard "Paul's dead man, miss him,
miss him" You can hear this yourself by recording it onto your computer and
reversing it in your "Sound Recorder" if you have Windows. This can also be done
with Blue Jay Way, revolution 9, and other songs.
This shows how easily people believe urban legends and folklore. You hear "Paul
is dead" because that's what you've been clued to hear. I'll say it again - it
was said and recorded forwards, and makes no sense. Listening to it backwards it
sounds even less like speech, makes less sense, but if you were looking for a
hidden message you'd be able to find one.
I Need You
0:41
Stray clunk noise from guitar, right channel.
1:06
Centre, a quietly hummed note.
1:10
Click to the left, during the syllable "mem", and the track loses something
in content - as if an instrument went quieter, or stopped.
1:47
Clicky sound along with skip in acoustic guitar (left side) just before the
volume-pedal guitar comes in.
2:23
Click (in acoustic guitar track).
In My Life
0:47
Finger snap, and rustling (right channel).
1:09
Stray guitar note (right channel).
1:47
At very end of piano solo, one single guitar note can be heard, in the right
channel.
2:12
Lennon flubs the word "life-thhhp" in the double tracking.
On the subject of the "baroque" solo that George Martin played for this piece,
Ugo Coppola writes :-
...a friend of mine, who is a classical pianist / harpsichord player, very
experienced in baroque music, remarks that all of the mordents in this piece
(i.e. the little three-note trills) are stylistically wrong, because they come
before the "embellished" (real) notes, instead of coming after them (where they
should correctly be). He also said: "You cannot close a bar with a mordent, and
Martin does this twice."
It Won't Be Long
1:09
Guitar and hi-hat all drop out for a moment here (bad edit?) This seems very
sudden compared to other places where this happens in the song.
1:59,2:01
For mono CDs, there are distinct stereo-wobble glitches here, the first on
the initial sound of "till", and the second almost as if the final "to you" was
edited on.
2:09
Buzzed note in final strum of guitar.
3:08
Pickup click again, and some stray guitar notes.
3:37
Fluffed bass note.
3:40,3:42
(Center) click/edit/crackle in guitar channel, and then John's pickup
clicks.
4:28
Distortion in John's "Yeeah" ... prompting someone (rumoured as in the
control room) to yell at him (4:32). Sounds like Paul's voice to me, and Michael
Bain/Laurent Cerveau agreed on this.
4:32
Left channel, shout, something like "Turn it down man/Mal" or "Bloody
loudmouth!"
4:34
Faint "Yeaah" scream. (couldn't be print-through, it's too far away from
4:28)
Latest thinking from JWB
That's incorrect. That's an urban legend about the song.
Nobody was yelling at John. (There is no reason anybody would DARE!) Someone was
just yelling in approval or excitement. It certainly doesn't come from the
control room, control rooms are sound-proofed from the rest of the studio.
That's why they use talkback intercoms. It's one of the other Beatles shouting
during the performance.
It definitely isn't "mal" at least. Mal wouldn't be in charge of turning
ANYTHING down.
Even though he's not always right, Lewisohn says:
"Close scrutiny of the original Trident tapes reveals the indecipherable shout
to belong to a fellow Beatle, off-microphone, taped on 22 February, and that it
was certainly not one of disapproval."
Yelling "turn that down" off-mic in the center of a studio while a song is being
played is not an efficient way of letting the engineer know that you want
something turned down, nor is that something a Beatle would do anyway. And after
all....the engineers can only hear the shout as well as we can. They're
soundproofed from the rest of the studio. They don't hear the studio sound. They
hear what's going onto the tape.
So after assessing the facts, I have concluded without a shadow of a doubt that:
The shout is made by another Beatle in the studio. (I can't tell which one. It
sounds like Ringo to me but it would be louder if it was him. It's probably
Paul.)
The shout was just an "I'm excited about that scream in this rocking song"
noise. (Paul is quite prone to those.) They DEFINITELY aren't saying "turn that
down". It doesn't sound like that to me, and it isn't logical either. That rumor
was started by someone who probably doesn't know a whole lot about studios or
how the Beatles recorded.
I Want To Tell You
0:06
Talking, heard using OOPS - it sounds like "Thrill me".
0:12-0:14
George tries out the opening vocal line "I want to tell you". OOPS needed
here to make it clearer.
I Will
Whole Song
I thought this was common knowledge, but it has been suggested so many times
that I'm listing it! Paul is doing the bass line vocally - "Doo Doo ... Doo..."
- it's not a bass guitar.
0:00
Starts with a click (left channel). Maybe Ringo tapped out the count in, and
it couldn't be trimmed without cutting into the "Who" at the start of the song.
0:18
Third note of acoustic guitar riff is quite flat.
0:59, 1:12, 1:17
Acoustic guitar final note ringing out is also flat.
1:42
Buzzing frets from guitar, right channel, in fadeout.
Anomalies J
Julia
0:10
John's voice gets double-tracked for "just to reach", very quietly.
0:14
John is a bit late coming in on the "Julia" line. Is this him, or was it a
mixing/editing error?
0:21
Small mistake in picking pattern, adding an extra note: The pattern usually
sounds like 'one, two and three and four', but this time it's 'one, two and
three and-a four'.
0:26, 0:28, also 0:48, 1:31 etc.
The acoustic guitar lowest note becomes extremely resonant and distracting.
It even seems to distort slightly due to the level.
Anomalies K
Kansas City
0:59
Small drop out in the track, Lewisohn describes this as a "one take wonder",
so it's not an edit. This has been suggested as a physical flaw in the tape. The
cymbals surge slightly here.
Anomalies L
Lady Madonna
0:00-0:06
Rhythmic noises in the right channel during piano notes, it carries on for a
bit. Also you can hear Paul's breath on the microphone at 0:08.5 as a rumble
(right channel).
1:40
Often reported as a click, but this is part of Paul's vocal "is never
ending". The final sound turns into "endinnngk". Rafael Szot de Lima notes that
It is a click indeed, because it was (almost) fixed in the 'One' CD. If it was
part of the vocal, it was not supposed to be fixed, I think.
I think that it is indeed part of Paul's vocal, and the reason it was corrected
in 'One' is because it was an unwanted part of that vocal. It's not an
instrumental/editing click. It's also right in the middle of the stereo field
(so it's not part of the two instrumental tracks, left and right).
Let It Be
0:00,0:09
Drumstick clicks, through an echo. (Let It Be Album version only, not on
Past Masters).
0:32
The "p" in "speaking" suffers from a loud plosive (worse on PM, partly fixed
but still there on LIB).
0:48
(LIB, not PM) Under the word "Let" there is a sound like a chair creaking,
or a bicycle wheel freewheeling.
1:07 (PM/Blue Album, not LIB)
After the words "For though they may be parted," there is a whisper,
possibly "Stop, John/It". Rumour has it that it's "Excuse me", as a result of
John having just parted. Yes, I did spell that right. Thanks to Biffy, the
Elephant Shrew for explaining that one ... Paul does seem to giggle a little
here!
Stephen Moss adds
This sound doesn't sound like John, unless it's a low whisper that shouldn't be
picking up on Paul's mic. More likely it's from the booth; it might be the word
"sibilance"
Again, voices from the booth should not be audible on the track due to the
soundproofing in studios.
1:21
(PM, not as audible LIB)
Reported as a thump against microphone, I think it's again a plosive (breath
noise into microphone after the word "Beeeeh").
1:46
(PM, not LIB)
Right channel, John or George plays three wrong notes as they head into the
solo, then stop altogether.
1:55,1:56,1:57
Three little distortions in organ solo (last few notes).
1:59-2:26
(PM, not LIB)
Centre, leakage of the "other" guitar solo evident in many places, probably
leaking from drum mics.
2:21 (LIB, not PM)
One note in guitar solo, very quiet, is wrong. Sounds like an open string
being caught or released?
2:58
Piano chord under the word "Mother" is wrongly played, and quickly
corrected.
3:18-3:19,3:30 (PM, not LIB)
Leakage of another guitar playing between "answer" and "Let it be", and the
second time, just before "Whisper words".
3:22 (LIB only)
An edit during the word "be", to lengthen the track by one stanza. The words
should go to "whisper words", but we get one more "there will be an answer" on
this version.
Tony Cox adds
... the title track drums have been doctored by Phil Spector as follows. At 0:52
Ringo originally played a SINGLE hi-hat on each bar (one on BROKEN, next one on
PEOPLE, next on IN etc, but Phil Spector took the whole drum track(s) and passed
it through an echo unit so the (whole) drum kit repeats in 16ths, so BROKEN is
accompanied by tic-tic-tic-tic... Now here's the woof:
This works well at this verse, but on the next verse the song changed tempo
ever-so-slightly. And Spector never adjusted the echo, so at ANSWER 1:14, the
real hi-hat and the echoed hi-hat overlap into a splurge. Secondly, going into
the chorus then, he didn't turn off the echo soon enough so the drums at 1:18 is
a mess.
Little Child
0:54
Stereo version only, right channel. Harmonica solo contains bleed-through of
the band, as this was edited in from a live take.
1:12
Cuts out again at the end of solo. Mono also has obvious bad edit at this
point as the track sound changes and the harmonica vanishes.
Lovely Rita
0:21,0:23
John sings as an aside "Aah, Paul" under the main lyric.
Jim Wagner adds
... right at the point where the heavily reverbed vocals end and Paul's dry
vocal begins there is a screamingly obvious tape splice. In a split second the
muted splice sound jumps from one channel to the other (due to the 45 degree
angle that many tape splices are done with).
This makes a lot of sense. There is a loud "pop" in the left channel, at the
moment the "aah" from John appears. Looking closely at the waveform on an audio
editor, there does seem to be an edit that has eluded capture, until now.
0:32-0:34
In the right ear, after "your heart awaaay" < a fwip> "Standing by..."
1:10
Odd sound, just before call of "Rita!" (Right channel).
1:15-1:17
Probably Paul, screaming "Woo-hoo-hoo".
1:22-1:25
Hiss in the background, right channel, from the piano track which has
finished but not yet been faded down.
2:11
Edit in the tape, causing a click, to join on the ending. Most audible on
the left channel.
2:38 Listen!
Ringo shouts "You'd better believe it" or "They'll never believe it" in the
very final moments of the song. Also suggested that this voice is John.
Not counted as anomalies, but these keep getting mentioned ...
The pop after "Over dinner" - this is very much intentional, and represents the
cork popping over dinner.
The "chukka chukka" sounds Lennon makes as "vocal percussion", which are also
intentional and not that uncommon.
Love You To
2:21
Leftover bit of "eee", from another take.
Anomalies M
Magical Mystery Tour
0:09-0:15,0:47
Clicking noise (switches) in the right channel.
0:24,0:30
John extends the "nnnn" of "invitation" and "celebration" for a couple of
seconds. Sounds very unusual.
0:48-0:55
The tour bus can be heard skidding and crashing at (used as part of the Paul
is dead hoax).
1:40
Right channel, a click/scratch. This is the bus being removed from the mix
before the crash happens. Unlike the first time!
2:27
Talking audible on vinyl versions, but not audible on CD mix.
2:40
One bass note cracks a bit, rhythm breaks down totally (bass, drums, piano
all diverge).
Martha My Dear
1:03
Strange overlap of the words "Take a good", due to Paul's double-tracking
not being spot on. Sounds like an "Elvis" style echo!
2:25
Click at the start of the final bass note. Possible edit here?
Matchbox
0:01
Heavy nasal intake of breath.
0:09
Strange halt after the first "Matchbox holding my ..." in Ringo's voice.
Maybe this is because he's trying to remember if he's supposed to "wondering",
"watching", or starting a new take because of cocked up lyrics.
0:14,0:42,1:31,1:32,1:38
Bad double tracking of vocals, especially. "Puppy-dog-py-dog runs" and what
sounds like "We-We-Well ..." at 1:32.
1:01-1:18
Some feature of the guitar solo coming in and out at these points causes the
drums to fall further over to the left channel. Probably leakage between
channels in the recording (drums getting into the guitar mic).
Maxwell's Silver Hammer
0:37,0:45 and corresponding choruses
Each time, the lyrics say "Bang Bang", and then the next time "Clang Clang".
Lyric books often wrongly show this as "Bang Bang" all the way through! Check
the Anthology CD version out for a clearer "view" of what's being sung.
1:21
During the line "Writing fifty times I must not be so" Paul laughs. I think
someone in the background is distracting him. Rumour has it that John mooned him
in response to the line "waits behind".
1:41
Double tracking lost on "head" so that Paul can join the backing vocals
(doo-doo-doo).
2:11
Left channel, sounds like an accidental snare tap.
2:44
Faint guitar note, best heard in right channel although it is in the centre,
under the word "lips".
3:22
A click cuts off the "n" from "Silver hammer maaa".
An interesting point to note, which came in a dream to Eric Stewart ...
The song, "Sgt. Pepper's Lonely Heart's Club Band" (the first one) has a
two-part horn solo. [...] It's melody bears a VERY strong resemblance to the
chorus of "Maxwell's Silver Hammer".
Picture this to the tune the Sgt. Pepper horns play, one syllable per note ...
"Bang... Max-well's sil-ver ha-mmer, down up on his head"
(upon his)
"Clang... Max-well's sil-ver ha-mmer, sure that he was dead"
Spooky.
Eric went on to say
Just so people don't get confused when they try to listen for that, can you
please also state that the resemblance is specifically between the second part
of the horn solo and the first part of the Maxwell chorus. Without this
information, interested people will have a harder time finding it in the music.
I understand Eric's submission better now, but I think it fits both parts quite
well! Obviously a small amount of recycling of musical ideas going on here.
Michelle
0:15-0:17
Acoustic guitar fret squeaks, much louder than in other parts of the song
where the same phrase is played.
0:45
Bass fret-squeak in the word "say". Not audible on mono mix.
0:56, 2:01
Previously listed as "Wrong note in guitar part under word "ma", it makes a
major chord, instead of minor chord as expected (right channel)."
I've revised my opinion of this after hearing from Max Mismetti. This is called
a dissonant chord, the chord has a major AND minor third. The "third" being the
note which normally distinguishes between a major chord and a minor chord. In
this case, the strings just rang out louder and made it sound wrong, but it is
in fact correct.
1:05-1:07
Left channel, Paul provides a quiet "ooooh" during "Need to I Need to" -
probably as a tuning reference for either his, or the others' harmonies.
1:39
Click on lead guitar channel after solo ends (left channel).
2:01-2:08
Song slows from 118 bpm to 109 bpm, and stays like that. The sound of the
snare changes here, so this could be an edited on ending - at least on the drum
channel. Vincent Dubrall suggested that this was a "ritard" - the song is
intended to slow down. However, the change in sound implies that some kind of
joining of takes took place, and the slow down is sudden, not like a gradual
slowing.
2:27
Left channel, a cough (not audible on CD, as vocals are dipped off). Also
stray guitar notes here.
which prompted Eric Stewart to write
...what it actually is is more interesting than that. The guitar chords are
being played on the right. In the exact spot where the so-called stray note
(which is actually a legitimate and purposefully strummed chord) is heard on the
left, the main guitar chord progression on the right falters and a chord strum
is missed. The lone chord on the left is a fill-in, a patch, an overdub to cover
up the mistake on the right.
In fact, if you mix the track to mono, it sounds spot on correct.
Listening to just the right track, there is a hole (a fluffed picking action).
Listening to just the left track, sounds like a couple of stray, but tuneful,
notes.
I think this was indeed a "patch up" job, but intended to be heard in mono. It
only partly works in stereo.
Misery
Throughout
Kick drum pedal squeaking.
0:41-0:46
Double tracking seems to be lost on some words in the phrase "I'll remember
- lonely one".
0:48,0:54,0:56,1:16,1:23,1:28,1:38
Scratchy sound (left channel, stereo mix only) after each piano section.
Mr Moonlight
Whole Song
Another squeaky bass pedal on the drum kit (most of the way through).
1:36-1:38
Someone sings a quiet "reference" note for the chorus coming back in.
2:27
Stray organ riff under second "light" - only in stereo version.
Anomalies N
No Reply
0:15
Between "your window" and "I saw the light" there is a cough and some speech
(Stereo version, this is the right channel. Still audible in mono, but harder to
hear).
0:30, 0:46, 1:10-1:15
Drum kit bass pedal squeaking away again.
0:33-0:34
Vinyl versions only. Loss of tape reverb on the words "telephone" to "were
not home" (This is corrected on the CD, where effects like these are often
re-done).
0:59
Reverb and double tracking disappears on words "in my". Also occurs on CD
version.
Norwegian Wood
0:38
On early American mono releases of Rubber Soul, there is a cough just before
"So I looked around ..."
Nowhere Man
0:19 (CD Version only)
The reverb and effects on the CD mixes are often re-created using modern
equipment. Here the reverb drops off completely through the words "point of
view," (gap) "knows not where he's ..."
Fixed in Yellow Submarine remastered, by having no discernible reverb at all!
0:39-0:40
Loud feedback tone, slightly to the right and immediately after "you're
missing".
1:04-1:07
"He's as blind as he can be" after guitar solo is very phased on LP (vinyl).
CD version obscures this. Fixed in Yellow Submarine remastered.
1:49-1:51
Paul loses the bass line a little, under Ringo's fill (this is what he'd
play at the very end, where they repeat the "nowhere plans for nobody" part),
and then plays what sounds like an open string, very buzzy.
1:51
"Aaah-la-la-la" - there's one incorrect note (a low one) in the harmony, it
makes a very strange chord.
2:35
After last "nobody" there is a clipped "yea". Fixed in Yellow Submarine
remastered.
US Versions of Rubber Soul seem to have a stray guitar note in the opening vocal
harmony.
Anomalies O
Ob-la-di Ob-la-da
0:02 Listen!
Paul says "remember to step it up, John", then coughs, then hums a few notes
to hit the opening notes right (0:09). Best heard when this track is OOPS'd.
Laughter and joking by the other Beatles too.
0:10
A clap to mark the start of vocal track.
1:08, 1:17
Three clicks at each of the two points.
1:18
John says "home", in reference to the following line.
1:42
After the line "lets the children lend a hand", the first time George says
"arm", and John says "leg".
2:05
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.
2:13-2:17
John says and spells out "home" at 2:13. Some other talking follows.
2:33
After the line "lets the children lend a hand" George says "foot".
Octopus's Garden
0:00, 0:03
Right channel, the snares on the drumkit rattle audibly to the guitar riff.
1:54
Right channel, a horrible pop sound. At high volumes, this hurts! Is it
possible that Ringo accidentally smacked one of the microphones with a
drumstick? The pop is in time to the fill.
Oh! Darling
0:34-0:35
Click (centred) Maybe from drumsticks? Also, a sharp loud breath.
0:53
The bass note on the down beat goes very dead, almost like a really slack
string! The following note is stepped-to correctly.
1:08, also 3:19-3:25
Daniel Caccavo says :-
"John (or George, I haven't checked the bible) uses guitar amp tremolo in the
bridge arpeggiated sections, which is activated by a footswitch. Going into the
first (I think it's the first) bridge [1:08], he accidentally pushes the switch
one note early, which gives the big chord a tremolo effect (which I'm sure was
unintentional). It sort of sounds like a tape dropout, but isn't. He also kicks
in the tremolo for the last two chords of the song [3:19] (and the plucking of
the ends of the strings at the close)."
1:30
A possible drop-in in the bass line, or slightly late playing of one note
here.
Anomalies P
Paperback Writer
0:10
Breath sound and rustling, centred. More audible listening to right channel
only.
0:57
Sounds like a cough and a tambourine rattle, again centred but more audible
on right channel.
1:01
Left channel, riff fades too quickly.
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 it's John).
1:45
Right channel again, someone clears his throat, and then has a couple of
quiet tries at the correct notes before singing "Paperback Writer".
Penny Lane
1:19-1:21
Crescendoing microphone feedback, similar to the sound at the end of the
song, but most likely an error here.
1:27,1:30,2:32
A bizarre sound on the 4th beat of each of these measures (under "my ears",
"my eyes", "meanwhile back"). Sounds like the studio was collapsing around the
recording! Whatever the sound is, it is irregular and not consistent within the
choruses.
arp@slab.org writes
I have in my possession a 3:06 rough mix of this song, I believe dating from
January 12, 1967:
At [2:32] the sound mentioned above is very noticeable; it is actually somebody
doing a glissando down the keys of a piano on which the strings have been muted.
The dominant sound is that of the keys themselves, rather than the strings.
That would certainly fit with the sound audible in the track, for all three
occurrences.
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?.
Mike Dickson observes
I understand that this is a deliberate musical effect, this particular song
being littered with them. The sound of the double-bass playing the slow deep
lines is being used to signify the banker, presumably as an emblem of slowness
or arthritis or something.
So it would appear for the fireman and the tubular bell .... and Max Mismetti
adds
I don't think they had channels enough to record a double-bass isolated [to mix
in later] It was supposed to be like that.
Some reports indicate that this is a cello, played low. However, Lewisohn states
that it was a double-bass, played by Frank Clarke.
Pepperland
0:41
Possible edit to track, one of the stringed instruments is cut off in
mid-stroke here (left channel), and the ambience on the right hand channel
vanishes.
Piggies
0:00-0:01
Centre, harpsichord is distorted, sounds like tape damage.
0:44
Sounds like a sniff (might be a badly done Piggy-snort effect).
1:53 Listen!
Print-through (or previous take audible) of "One more time" (i.e. it is
quietly said just moments before it is said for real).
Please Please Me
Throughout
Every time there is harmonica, on the stereo version, there's "leaking" to
the other side of the stereo image.
1:08
John sings "rain in my heart". Backing singers try out the note for harmony,
giving "Mmm....in my heart". Audible in both mono and stereo versions.
1:09
The first word of "I do all the pleasin' with ..." has a loud click in it.
On my copy of the CD, the waveform tries to exceed 0db (maximum level), leading
to clipped samples. This is a mastering error when producing the CD.
1:27
John sings "Why do I-you never even try, girl?"
Paul sings "I know you never even try, girl." (Correctly)
John, apparently realizing his mistake, chuckles out his next "come on." Stereo
version only. This is caused by John singing the second line of the second verse
(not the third verse!).
1:37 (Red Album)
Momentary drop in level of Ringo's crash cymbal. Possibly also 1:36 in mono
version.
1:45 Mono version
Dip out in level and muffling, as the end is edited on.
1:45 Stereo version
Same edit as above, but badly done. Timing goes out with the introduction of
a harmonica edit piece. Edit piece is slower than the left (rhythm) channel and
catches up in time for the last three chords.
Polythene Pam
0:06-0:08
Leakage of guide vocals, sounds like "She Should See Polythene Pam!". The
word "Pam" sticks out most audibly, just before John sings it for real.
0:24,0:44
Paul's slid-to bass note is very ragged each time. Audibly ends up one fret
flat, and steps up the 2nd time.
0:41
Left channel, someone yells "Yeah!"
0:45,0:46-0:47
Right channel, someone picks up the maracas. (After the cowbell clonk and
the tambourine, which were possibly intentional.)
Also miscellaneous shouts from Paul: "Yeah", John: "Great".
0:55-1:04
Left channel, voice counting measures from 4 to 7.
This sounds like the same voice as at 0:41. Probably John.
Anomalies R
Rain
0:33
Click to right channel, just ahead of vocals coming in.
0:40-0:45
Something weird happens to the drums and bass track - one bar ends up with 6
beats, the fills seem to go on for a little too long, and the bass loses the
pattern. This sounds like it might be a join between takes, or a "loss of
position" by Ringo. Somehow, John stretches his vocal over these beats and hides
it. The down beat should be where the word "sun" lands, (the bass and guitar get
there, but the drums don't, and you are kept waiting a little!)
0:57
Possible edit, there's a "clup" in the track here.
1:46
Guitar loses plot as soon as the drum fill ends.
The engineer ... already said TAKE 20 twice immediately before. I think he was
making a comment to Lennon and he cut it off quickly when he realized they had
begun the take.
The tape that I have is a "control room monitor recording" by LOCO YOKO. It is
from June 4th, because it starts out with a complete playback (probably the
reduction mixdown itself being performed). Then there are long sections of drums
and organ overdubs being performed simultaneously (probably on the same track
since they only had two tracks to work with, and Lewisohn states that a guitar
was recorded the same night).
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", just like on the Strawberry Fields bootlegs of the orchestra parts.
1:47
Vocal noise, sounds like a misplaced "Bom!" or "Uh!"
1:54
Whole track volume dips down and back up.
2:16
Strange high pitched ring or tinkle sound, centre, between "gonna" and "be".
2:20-2:21
Whole track volume dips down and back up, as if something dropped out.
Strange noise, just as guitar comes back in late (sounds like "Oh!")
2:57
Lead guitar flubbed to bits at the end!
3:01
Snare almost completely disappears under the word "Mao".
3:12
Guitar is panned from left to right too late, catching the first "stab".
This ends up suddenly switching sides.
3:21
Although the rhythm track has been faded down, George's guitar can still be
heard to the left, buzzing away.
3:24-3:25
Stumble (triple) beat in the whole track here caused by editing, rather than
by performance! The track seems to play that section once, and then repeat 2
more times. It adds a whole extra "beat" to that bar, making the effective time
signature 5/4, not 4/4
3:27, 3:28
Sounds like two burps, centred.
3:43
Brass section cut off by guitar riff introduction as the song ends. This
must have been added over the brass section due to shortage of tracks.
2:15
Stray notes from the guitar (centre).
2:20
"Head" sung out of place by the second voice.
2:57
"Alright" out of place by second singer.
3:00-3:03
Click track audible again.
3:15
Voice in the background says something like "Thank you/That's it".
The click track/metronome keeps appearing in this song because the drums are
very heavily compressed to get that powerful sound. Whenever the drums stop, the
compressor automatically starts to lift the level of the drums, thereby catching
the relatively tiny sound of the clicking. The same kind of effect occurs on the
intro to "Here Comes The Sun", and also in the final chord of "A Day In The
Life". The latter example was compressed by hand, that is moving faders up and
up as the chord died away. If someone had sneezed, then it would have deafened
most of the studio's occupants!
Revolution 9
It's hard to decide what is anomalous in this track. However ...
Lewisohn, and other lyrics books show the early section's lyrics as "Brother can
you take me back ...". It sounds more like "Robert, can you take me ...". Also
suggested as "Brahma". On the CD, this section of the track is pushed back into
the end of "Cry Baby Cry".
The mixer used to mix this track has a scratchy pan control. You can hear this
at 1:03-1:10, 1:24, 1:37-1:58, 2:13-2:18, 3:02, 3:24-3:26, using the CD version
timings.
3:33-3:49
Right, and then later centred, the rising tone and rapid gibbling noise is
the tape used to supply artificial double tracking running out, and being
rewound while the mix is taking place. This is not a sound effect tape, or tape
loop, but was an accident left in the mix.
Just to settle the question "What's the chatter about a 'cheap bitch and a
bottle of wine' on Rev # 9" question, here's the transcription. Listen!
AT = Alistair Taylor, GM = George Martin
AT ... bottle of claret for you if I'd realised. I'd forgotten all about it
George, I'm sorry.
GM Well, do next time.
AT Will you forgive me?
GM Mmm.. Yes ... [ with a smile in his voice ]
AT Cheeky bitch!
"Bevern" writes
You can hear someone say: "hur mycket ir klockan?" Swedish as well. It means:
"what time is it?"
This is actually the line "bottle of claret ..."
Also, because so many questions come to me about this, here's a rendition of
most of the audible speech in Revolution Number 9. This is my best guess, some
of it is subjective due to being overlaid by other sounds, and also hampered by
most of it making no sense at all!
1:00
JL: "Mrs Welsh wearing a pair of [her] sun/son's brown underpants"
1:10
JL: "about the shortage of grain in Hertfordshire. Every one of them knew
that as time went by they'd get a little bit older and a little bit slower ....
This was on the air force set thing"
1:20
JL: "manufacturing person who was always umpteen types of 'umpty dumpty
(????) finders, yep ah did-dly ... Peak District was leaving intending to pay
for ..."
1:59-2:06
GH: "Who's to know? Who's to know?"
JL: "colours for the season. Everybody who knew ..."
2:16
JL: "Pakistan ... also spoken for"
GH: "every day through the business terms"
JL: "had informed him on the third, and I, that unfortunately he was"
3:07
GH: "Every few days ..."
JL: "in a pair of brown under" [edited away, clothes, pants?]
3:26
GH: "local doctors that are (???) this may seem"
JL: "I have nobody's ..."
3:46
GH: "on Eaton, with the situation"
JL: "They are standing still"
GH: "upon a telegram from the"
4:04
GH: "to us played it false as the headmaster reported to"
JL: "who could tell what he was saying, his voice was low and his eye was
high and his eyes were glowing"
GH: " ... Sunday, He really ... became a great deal ..."
4:22
JL: "on fire, his glasses were in t'safe, this was"
GH: "into, which enabled him to move his"
5:03
JL: "certain, so the wife told him he'd better go to see a surgeon .... or
what with the price .... yellow underclothes"
JL: "So, any road, he went to see the dentist instead, who gave him a pair
of teeth, which wasn't any good at all. So ... so instead of that he joined the
bloody navy and went to sea."
5:37
JL: "in my broken chair, my wings are broken and so is my hair. I am not in
the mood for wearing"
6:01
JL: "Dogs were dogging, cats were catting. Birds were birding, Fish were
fishing. Thence Pwllheli, went swimming"
6:18
GH: "only to find the night watchman"
JL: "onion soup"
GH: "unaware of his presence in the building"
[Note: JL interjects "onion soup" at the point where GH says "unaware". I think
that this was some JL wordplay on what GH was about to say. In fact, I think you
can hear GH begin to smile, especially through the "presence" and "building".]
6:34
JL: "Industrial output, financial imbalance"
GH: "Thrusting it between his shoulder blades"
JL: "The Watusi, The Twist"
GH: "Eldorado"
6:54
JL: "Take this brother, may it serve you well"
7:04
YO: "Maybe, it's not that, it's .... maybe, even then, expose yourself ..."
7:26
YO: "It's almost like being naked"
7:54
YO: "if ... you become naked"
Rocky Raccoon
Whole Song
Low E string on guitar, is slightly flat.
1:07-1:20
There's an interesting tremolo effect on Paul's bass up to 1:07, which stops
entirely over this period, then returns. In places it goes back out, and then
back in.
1:38
Under the words "Danny Boy, this", you can hear a second faint track saying
"Boyyyy". Is this a guide vocal track?
2:19
Piano is cut off very abruptly (in the right channel).
3:06
Bad edit as piano comes back in, losing first note.
3:30
Click during fadeout, sounds like lip-smacking noises from Paul?
Anomalies S
Savoy Truffle
0:05,0:06
Clicks, centre and slightly to right.
0:10-0:19
Left channel (guitar, hi-hat) loses high end treble and ends up dulled. It
reappears suddenly at 0:19. This is also reported as the whole song going up in
volume at 0:19.
0:27
Right channel, click.
0:35-0:36
A couple of hand claps or finger clicks, and a "Chh!" vocal noise. Sometimes
heard as a voice saying "Check it".
0:41
Paul treads on the "rest" moment with one stray bass note (compared to the
same riff from the opening of the track). He plays over George's "Coool ..."
0:55
A voice, right channel, sings "oo-ooo!" way in the background.
1:11, 1:20-1:22
After the brass stops, and before "You might not feel..." there are assorted
purring and cooing noises in the right channel.
1:27
Accidental tambourine hit.
Sexy Sadie
0:01
Click, centre, sounds like static discharge.
0:04-0:06
Someone half-heartedly slaps out the rhythm for a moment.
0:06
Thump, left side.
0:40
Very high pitched tone (around 13.5kHz) in the first "you laid it down for
all to". It's low in level, and hard to catch without good headphones. Sticks
through in pauses between words.
1:00
A click, and an errant "Oh!", which sounds like it's in the backing vocals.
1:11
Edit in the middle of the words "Sex/y Sadie". John's vocal becomes harsher
here, and there's a click.
1:13
"Wa wa wa" cut off harshly (right channel).
1:15
Finger snaps/clicks.
1:18,2:42
Pitch of piano (whole track?) noticeably flattens.
1:33,1:42,1:46
Click/Noisy scratch in vocal track.
1:36
Misplaced bass note, left channel.
1:49-1:51
Finger snaps/clicks.
2:05
Some kind of noise moves from the right channel to just left of centre. This
is in the "backing vocals" track, which are being ADT'd, hence the sound moves
from the live vocal position (right) to the output of the ADT machine (panned a
little left, lower volume).
2:20
John lets out a "Waaaah", centre, mixed in with the keyboard sound.
2:30,2:53
You can hear John mumbling "Sexy Sadie".
2:46,2:52
Glass-like tinkling, after the tambourine.
3:02
Very odd sound, like a dull drumbeat, on first beat of bar.
She's A Woman
0:46,1:03,1:24,1:31
Right channel flakes out, taking the shaker and piano out.
1:23
Paul gets a huge plosive on "Puh-resents".
1:25
Rhythm guitar drops out for one beat (playing style, not a tape fault, he
missed the chord).
1:32-1:33
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!
Apparently bootlegs of early takes show the guitarist having real difficulty
with the chords on an ongoing basis, leading to several mistakes.
1:41
Loud click, centred.
2:43
Click during the word "fooling" (Left channel).
2:53-2:54
When the chord changes up to D, the piano stays on G for 2 beats of that
bar.
Slow Down
Whole track
The ride cymbal sound phases oddly in the right channel, maybe from
headphone leakage in the vocal track, and Lennon moving back and forth on the
microphone. Especially audible at 0:29-0:33.
0:07,0:10,0:25
Click sounds, the first two are a vocal, lip smacking / gum chewing noises.
0:45,1:02,2:27,2:45
Piano is out of sync with the backing (comes in early, usually). This is an
overdub by George Martin at a later stage.
1:14-1:17
Piano on the right channel stops abruptly and recommences for no apparent
reason, allegedly this is connected with the boy / care edit below.
1:15
One voice sings "Now you've got a boyfriend down the street".
It sounds like the other voice sings "gurr" as in "girlfriend", and seems to
stumble over the "down the street" part.
In fact, from hearing the Decca Audition tapes, John sings "now you don't care a
dime for me" at that point. Listening to the initial sound, it's not a "gurr",
but "curr" ... as in the Liverpool way of pronouncing "care". The "down the
street" stumble is in fact the "dime for me" part of the lyric.
Something
0:11
One drum beat hits the rim or stick instead of the drum head.
0:52
Click, off to the right.
1:41
Click, centred.
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 proper start point, and so the real line fades in a
little late!
I've listened to this sound more recently, and compared it to the sound of the
higher notes on the Mellotron "Flute" setting. It's a high note being tapped on
the Mellotron keyboard, and really doesn't equate to anything sensible in Morse.
It's music, so let it be.
For those who want to find the "Morse" it is at 0:15-0:20 in the released
version (left channel). In bootlegs of other takes, it repeats at other places
in the song, always after "cause I'm going to...", and always sounding slightly
different.
Sun King
0:12
Soft click (centre).
0:28
Hiss reduces considerably where the "crickets" sound effect tape ends.
0:32
Click (left).
Anomalies T
Taxman
0:03
Left channel, "for you 19 for me 1-2-3-fooow" in the background.
Right channel, various backward guitar notes (tape being wiped across tape
head?), then a little forward scale up the guitar.
Centre, "wunn twooo threee fourrr <cough> wunn twooo".
0:23
Stray guitar note in the right channel, from Paul's solo track (it's really
quite early!).
0:35-0:37,0:42-0:44
Right channel drops out, taking with it the tambourine. It has been
suggested this was where another vocal came in, like the "Anybody gotta bitta
money" later. It's too short to be that phrase, so maybe just a "Tax-man" each
time? This was then removed.
0:47 Listen!
Right channel, a "Whoosh" before the cowbell hit. "Must have been swinging
that cowbell stick with a lot of enthusiasm" says Mike Borman.
Specifically here :-
1 2 3 4
Cause I'm the tax man [whoosh]
. . o o
Tell Me Why
0:31
Sounds like "Did you have to leave me oh so bad" - this is a vocal cross-up
between "treat me oh so bad" and "leave me oh so sad".
1:42
Edit, or drop out, between "so in love with you/Tell me why". The level
seems to drop sharply, and comes in a little late ... both in vocals and the
guitar.
2:04
Loud swish in final chord, stereo vinyl versions only?
The End
0:29,0:31
Someone whispers counts of "6" and "7" counting the measures of the drum
solo. (0:19 "Night" being the start of bar one.)
1:29
Compared to the guitars, the piano and end piece is about a fifth of a note
sharper.
1:44
No bass guitar after the "and in the end" part. Very probably intended, but
often reported as a mixing error.
There's A Place
0:04
Edit in track, a small amount of time seems to be missing from the harmonica
track.
0:08
Click in the word "is".
0:28
Loud stray guitar note pings, exactly on the beat between "time" and "when".
The Word
0:01
Sharp intake of breath (right channel).
0:30
The word "misunderstood" is poorly double tracked.
0:42
The guitar stabs to the left break pattern here, and one stab is missing
under the word "and".
1:16-1:18
Right channel, John pronounces the word "word" as "weerd" (very Northern!)
and makes Paul's voice waver with laughter.
1:47
One harmony sings "It's the", the other " '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.
1:19
Just for a moment, Ringo carries on with the wrong pattern ("Do what you
want to do") and then realises that we have less snare beats in this phrase.
1:30
Pop in right channel, an edit in the word "future"?
1:55
Although the chorus is repeated, the bass momentarily goes back to the main
pattern, alternates a bit, and recovers!
2:15-2:16 Listen!
Low down, but there is a pronounced "boingy" echo from the guitar.
This Boy
0:20
Of the total parts, only one (John?) says "though" before the "He'll regret
it someday..."
1:28
Bad edit right after the line "Till he's seen you cryyy" in the chorus.
2:07-2:15
Lots of ticks, like static discharging, in the fadeout.
Ticket To Ride
Although I've never seen any official Beatle-sourced confirmation of this, many
reports say that this title is in itself an anomaly.
It is claimed that the lyrics as written and sung are "She's got a ticket to
Rye".
I've had various accounts of how an error was made in the printing of the record
labels, or in studio documentation, and that it was too late to go back and fix.
So "Rye" became "Ride" in print by accident.
I've also been told that it was originally "Rye" but was changed on the
documentation to be "Ride" in an attempt to deal with the fact that no-one in
America knew where Rye was, and so this would confuse Americans less. So it was
done deliberately, by the record executives, if you believe this version.
I must admit, the vocal has no clear 'd' sound. But beware: that's how the
misheard line "It's such a feeling that my love, I get high, I get high ..."
came about, and also "I wanna hold your ham".
Then again, mistakes do occur in documentation. One of EMI's official documents
shows "I Am A Walrus".
0:38-0:41
Drop in the level of Rickenbacker (jangly, right channel) guitar. Fades back
in.
1:08
Tambourine goes into double time half a bar early - compare with 1:58, which
is correct.
1:25
Ringo's drum pattern changes: Compare the opening verses, described as
"snappy, innovative, and [later] nicked by other bands" by Lee Abrahams. Now
listen to the pattern from here on. Not as snappy, maybe he lost his way during
one of the middle eights.
2:45
Last three notes of the bass line sound a semitone flat. Fingering error?
2:47
First bass note in the double time ending is quite sharp, it corrects over
the next few notes.
Two Of Us
3:03-3:07
(Vocal) counting of beats to mark time, soft "thump thump 3 4" audible
3:30-3:33
Whistling to pass the time. Certainly not whistling the melody established
at 3:14! After a couple of passes at the "normal" whistling, it degenerates into
chootling.
Note the tune he is whistling is very similar to the little tune at the Hawaiian
end of "Hello Goodbye"! (Hey-la, Hey-la-Aloha!) Not exactly the same, but
slightly recycled.
Anomalies W
Wait
0:48
One chord is much quieter than surrounding chords (left channel).
1:40
One chord, left, is played a bit too early, ahead of the word "hold".
Words Of Love
Whole Song
Ringo's bass drum squeaks through this one, too (left channel in stereo
versions).
0:02,0:04
First one, then both "clappers" come in late - part way into the intro.
0:12-0:14,0:59,1:15
One person stops clapping, the other continues for too long.
0:59-1:04
Possible edit or drop-in in the guitar track (more audible in the left
channel of Stereo version).
Anomalies Y
Yellow Submarine
1:05-1:06
"And the band begins to play" ... They certainly do, but one of the
trumpeters decides to put in a little trill ahead of cue! Fixed in Yellow
Submarine remastered.
1:06-1:10
Previously, it was claimed that "The acoustic guitar loses it, and hits a
series of wrong chords, masked by the brass coming in."
Jesse Smith has analysed this more closely, and come up with an answer
Now I've listened to this over and over, and I think I know what's happened (but
not exactly why). It's not that John messed up the acoustic guitar chords. He
keeps playing the same sequence that the verse normally follows.
G D C G
And our friends are all aboard
Em Am C D
Many more of them live next door
G D C G
And the band begins to play
(Now the way the band plays, you'd expect this to stay in G)
But both the guitar AND Paul's bass play:
Em Am C G...again, as if they were finishing the verse. The other
verses are finished
that way, and I wonder if the addition of the band was a late idea, and for
whatever reason they didn't bother to re-record the backing track. Or for that
matter, I wonder why they wrote the band's interlude in chords that clash with
the verse structure.
Maybe there was a fourth line of vocals after "and the band begins to play",
which was later ditched in favour of the band part. Anyway, thanks to Jesse for
defending John's guitar playing. Further proof that this is the case is that
Paul's bass matches John's chords note for note.
1:32-1:38
skoumalo@post.cz writes
I'm from Czech Republic and so it is Czech language anomaly
You can hear it during sound effects break. There is one little sentence in 1:36
"prosime, nedychat" which is in English "please, don't breathe". In Czech
fanzine called "Beatles Yesterday And Today" is explanation of this. "There
should have been sound engineer of Czech origin on recording session".
"Bevern" writes
1:32 something that voice says: "Posten ir hir Mr Baker (Burton) posten ir hir!"
and then "Do fortsitter vi resan". It's Swedish and means: "The mail is here, Mr
Baker, the mail is here!" "Then we'll continue the trip"
Most English speakers hear this as "Full steam ahead, Mr Barclay/Barker, Full
steam ahead". "Full steam ahead it is". It's supposed to be someone on the
bridge of the submarine, talking to the engine room by the communications tube.
This submarine being steam powered ... which is unusual.
1:38-1:41
Niels de Wit from the Netherlands writes :-
I've always heard the Dutch phrase "HOU ZE TEGEN!" ("Stop them!") appearing not
once, not twice, but 3 times in the "instrumental" part of Yellow Submarine!
It's even pronounced with a typically Dutch "hard" "g"
I have no idea what this line really is. It sounds like someone yelling "Hot
potato, hot potato" then "Aye Aye Sir!"
1:51
The backing vocals come in a line and a half late in verse 3. See Real Love
single version for the complete "answering" vocal.
Bruce Benham says
The answer line "a life of ease" is only found on the Mono Revolver mix. The
single uses this mix also.
The Yellow Submarine mono LP mix is the same as the Revolver Stereo mix
(essentially) in that the line is missing.
Chris Chardi points out that the "life of ease" line is also audible on the
Yellow Submarine Songbook remix.
2:00
Ringo's voice cracks here, leading people to hear either a totally off key
note, or "slubmarine".
Yer Blues
Whole Track
Bass guitar's low string seems to be tuned flat, compared to the rest of the
track, and the rest of the bass guitar.
0:17
Scratchy noise, "Wanna <scratch> die".
0:20 (exactly repeated at 3:34)
Pop noise, from guitar on right.
0:51 ,1:05-1:08, 1:22, 1:26, 1:49
Feedback.
1:02-1:09,1:31-1:40, 2:00-2:07 Listen!
Left channel, John can be heard shouting out lyrics that are different from
the finished verses, and do not match printed records of earlier lyrics. They
are most obvious here (where they differ) but there is a vocal there throughout.
This is coming from an off-mic guide vocal, performed while the band part was
recorded, and is leaking through the drum microphones. Heard clearer in OOPS
(removes main vocal).
1:22
Click, in tail end of word "already".
2:04-2:07
A couple of handclaps audible behind vocals.
2:25-2:27
(Left channel) Yells.
2:29-3:16
(Left channel) Faint guitar track. Bleedover from the original guitar solo,
bleeding through the drum mics. Right channel is the overdubbed new solo.
3:16
The supposed "instrumental" verse at the end also has some bleedover from
the guide vocals. This segment was spliced in from another take, according to
Lewisohn. The edit can be heard in a clipped guitar note. Unfortunately, it
fades before we get to the repeat of the "alternate lyrics" section above.
The anomaly at 0:20 (3:34) made me check carefully: The instrumental verse at
the end is exactly the same recording as the start of the song, it is not a
different performance or take. The two parts of the song, when lined up in an
audio editor, are identical, save for vocals. They flange together, indicating a
slight variation in speed, that's all.
Daniel Caccavo explains these vocal anomalies
It's the leftover leakage from his live vocal (which he replaced).
Tom Hartman (who was outside the room as the boys left the session) recounts
that John said, "as long as you got the vocal" to the engineer, which cracked
everybody up. If you listen to that shouting, and think of that as the vocal
that John referred to, it's pretty funny....
Occasionally, what sounds like a third voice, singing a higher harmony to the
"Girl you know the reason why" parts sticks through (Paul).
At the referenced times, someone is shouting (not particularly singing) words
that do not fit the main lyric at all, not even the alternate (original) lyrics.
Things that stick out are reported as phrases like "Backs out" (1:31), sometimes
as "[It] blacks out" (also 1:31), "Black cab" (1:34), "Who we are" (1:37),
"crossed the road" (2:00), "Why it's alive" (2:03) - but they are hard to hear.
Chris Chardi thinks that
... Lennon hadn't nailed down all the lyrics when the band recorded the
instrumental take and was just singing random words as a guide vocal.
So these lyrics heard in the background would pre-date the "original lyrics"
that are sometimes quoted in Beatles references. If only we could hear them more
clearly!
Yes It Is
0:08,0:35,1:22,2:09
George reported as making the harmony sound false. This is another one I'm
going to retract on thinking about it. This is an intentional chord, and sounds
out of place simply because it is rather unusual.
0:12
Small drop out in the word "I" (as in "what I said"). Sounds like tape
damage.
1:49
Plosive from John singing "happy", sometimes reported as a "bump" sound.
2:37
Click, centre.
2:39
Click, right side.
Yesterday
0:19
After the word "believe" there is a squeak, sounds like it's from a violin
string (left channel).
0:30
Click, centre, right at the start of the word "There's".
0:49
Click in the word "I", possibly a finger noise in guitar part.
0:52
The words "something wrong ... for yesterday" are double tracked. This could
be to do with Paul having replaced a section of the vocal - George Martin said
that the vocal was piped as a guide track for the orchestra. So the original and
new vocals combine here to double track accidentally? Phrasing of the word
"yesterday" is different, and it shows up.
1:45
Right channel, just before the words "Now I need" there is a clunk from the
guitar.
2:01
Thud, right channel.
2:04
Strange sound as Paul releases the neck of the guitar. Mono version only.
Paul: "I know but the cases are still up at the door!"
Paul: "I didn't think, I'd thought you'd said I didn't think you want ..."
[Floundering for an excuse]
George Martin: "Here we go..."
[Let's get on with the take, chaps]
Paul: "George..."
[Probably to George Martin, for interrupting the argument]
Next take: Notice that the bass line is now simpler on this take. Paul's stopped
trying to play 8 notes to the bar, and is doing more like 4 to the bar.
Now, you know how the middle of the song should go, right? But in these
recordings, they are probably still changing things and making decisions on how
to present the song. The band are playing a long middle, and get through 6 bars
of playing, when John comes back in. An interesting thing happens here. Either
:-
Paul goes back to the verse bass line, Ringo carries on as ever, John starts
singing. It's just that George decided to do a full 8 bar solo. (George's
error).
Or:
Paul realises John's mistake in going back to singing the verse too early, and
adapts his bass line, Ringo carries on as ever, George gets confused by all this
and stops (John's error).
Without knowing what had been said before ("We'll do it shorter, we'll do it
longer"), it's hard to correctly apportion blame here.
John: Oh, bloody hell, I told you!
John: Oh.
Paul: You come in in the wrong ... half way through the solo [Said to John?]
Paul: Wasn't.
Moonlight Bay
[Group and Ernie Wise] [Eric Morecambe]
We were strolling along Twist and shout
On Moonlight Bay ooooo ...
We could hear the voices I like it ...
singing
They seemed to say
"You have broken my heart Oh, Twist and shout
So don't go away" Have the Beatles gone?
Glass Onion
At the start :-
George: Sorry about that. [off microphone by a long way]
John: I told you 'bout Bethlehell Bill ...[a play on Bungalow Bill, and on
Bethlehem/Hell]
In the middle :-
Left side:
[Absolute nonsense, mimicking a foreign language]
John: Zep A Boo shee de da doh doh.
Looking through a glass onion
(Me and my buddies)Right side:
John: Looking through the bent back tulips
To see how the other half lives (Oh wali dadja)
[mock Pakistani? accent]
Looking through a bent glass on
(yuhu me and my friend lubajab byjiver) [Irish? accent, sounds like
corruption of "Bejabers!"]
And, in the end :-
Left side:
John: Looking through a glass onion
(by permission of the county council and all the
friends and neighbours of the old El Chi Chau?)
Right side:
John: Looking through the
(scat singing: da ba doo doo diddle diddle dow doo)
Good Night
John: ... sound quite nice.
Ringo: What?
John: It sounds nice starting like that anyway.
George Martin: Okay.
George: ... said we'd have a count-in on there.
One, two, three, four.
George: Dreams, sweet dreams...
George Martin: Right, Off you go
George: That's it!
George Martin: You do the count-in then
George: The beginning's different now. Okay.
Ringo: Yeah.
George: Ready?
Paul: How does it go ...
George: It's from `Dreams, sweet dreams'...
Paul: I'll just go in ...
George: One, two, three, four.
Yesterday
George: What key is it in?
Someone: What key is ...
Paul: It'll be in F for you. 'Yesterday'.
George: What key are you playing in?
Paul: I'm in G, but it'll be in F...
and it goes Em to A7 to Dm, ready?
George Martin: Here we go
Paul: Okay man.
The reason behind this is that Paul played Yesterday with the guitar tuned down
2 semitones (a whole note) to give a different sound. So George asks what key,
the song is in (F). But, George being a sharp eyed guitarist, notices that
fingering looks wrong for F, and says "So what are you playing it in?" As Paul's
guitar is tuned down, he has to play a G shape to get an F chord. The strange
thing is that George isn't playing along in this recording, or in any other
recording of Yesterday. So why was Macca explaining the chords?
Ugo Coppola writes
I'm only adding here that maybe Paul explained the song to George because, at
this stage, "Yesterday" wasn't meant to be like it is on the record, i.e. it was
meant to be played by the whole group. It was only after Paul played "Yesterday"
to George Martin on his acoustic guitar that the producer decided that nothing
else (except later strings) was to be added to it because it was nice that way.
At least this is what Paul and George Martin himself say about the song in
Volume 3 of the Video Anthology...
Additionally, Roland Porth says
Watching the Anthology Videos, there is a video of The Beatles playing
"Yesterday" in Japan, and all 4 are playing.
So George would indeed need to know the chords...for live performances, if not
for the original intent to record as a group.
Julia
Paul: ... again
Paul: That was a great take, you know, the er...
John: It was till then
Paul: ... try it again, there was one or two little
discrepancies
John: There was just the one, wasn't there?
Paul: You're great, really great. Well, let me tell
you.
John: Couldn't I .. ... Couldn't I go from there, you
know?.. 'Cause it ...
Paul: Yeah, sure. We can drop in, if you like, if you
want, John.
John: No.
Paul: You're doin' great
John: 'Cause that one was perfect, wasn't it?
Paul: Yeah, great, we can drop in if you like, yeah,
because that was ...
Dig A Pony
John: Sha la ba.
Glyn Johns: Ah, very.
Paul: Shaloom!
Glyn Johns: You even got the end right.
Paul: Ah, you see, you see. We improve with time...
John: You're not talking to Ricky and the Red Streaks,
you know
Paul: ...Like a fine wine really. I put us down as
Beaujolaise '62
John: Oh, I think we should buy some fans
Paul: Coton ... (Or Cote D'En ...)
Two Of Us
Paul: ... adjust everyone in there
John: Okay. What is there?
Paul: Dunno
Paul: You'll hear it ...
John: Yeah.
Paul: y'know, just the first occasion you get.
John: I did with me thumb.
Paul: Yeah.
I Me Mine
George: You all will have read that ah... Dave Dee is
no longer with us. But Micky and Tich and I
would just like to carry on the good work
that's always gone down in number two.
Reference to John, absent at this session (holidaying in Denmark), George is
carrying on with Ringo and Paul to record his own song.
No 2 is Studio 2 at Abbey Road.
Of course, Dave Dee, Dozy, Beaky, Mick and Tich was another group of the era, so
Dave Dee is John, Mick and Tich are Paul and Ringo (which is which?) and George
is either Dozy or Beaky.
Hmmm.