Beatles songs that were sped up or slowed down from their original speed?

Anyone know? Here's what I know:

She Loves You (Sped-up)

When I'm Sixty-Four (Sped-up)

 

Across The Universe had both, slowed down on LIB, sped up on Wildlife version. I think LIBN is correct speed.

 

She's Leaving Home (either the mono or stereo --- people are still arguing over which one had the tape speed changed)

 

Strawberry Fields, sped up 1st part & slowed down 2nd part to make them match. I believe Penny Lane was sped up a bit.

 

Don't Pass Me By -- the mono version is sped up

 

If I recall right, Everybody's Got Something to Hide... is sped up.

 

I don't think She Loves You was changed in speed.

 

Here, There and Everywhere

 

She Loves You is not sped up. Where did you read that?

 

And I Love Her is slowed down in the film (very noticeable when watching it for the umpteenth time on TMC last night).

 

I always thought "Long Long Long" and "Sun King" were slowed down. Either that or they were just really stoned when they made them. Also sounds like the vocal and backing in "The Inner Light" were slowed down before the guitar being overdubbed. I don't really know though.

The piano solo in "In My Life" was famously sped up.

 

I think "Rain" was recorded in A and slowed down to G.

Was "I'm Only Sleeping" slowed down to E flat?

 

Backing track sped up on the mono mix, vocal sped up a little on the mono mix, slowed down nearly a semitone on the stereo mix (which was mixed at the speed the instrumental backing track was recorded at, making Paul sound sleepy).

 

All of the songs in front of the cameras were slowed down.

 

John's voice is sped up on both the mono mix and stereo mix of "Lucy In The Sky With Diamonds" (more so on the stereo).

 

Free As A Bird (down) and Real Love (up)?

 

Maybe the OP confused "SPLICED UP" with "SPED UP".

 

It wasn't.

 

Thought I had read that Paul's guitar solos on "Taxman" were sped up, is this accurate?

 

Correct, and it's the same solo each time.

 

Penny Lane always intrigued me because it's been said that Paul composed it on the piano. Somehow the final version ended up in the key of B major but I seriously doubt that Paul, who wasn't the most accomplished pianist in the world, would have banged it out in anything but the MUCH easier C major. So did George Martin bump it down half a step to B for some reason (why not concert B-flat then which is such a "brass friendly" key)? I just can't accept that Paul originally brought it to the others in B major. Was it actually played and recorded in B or was it either slowed down from C to B or sped up from B-flat to B?

 

If you slow down the stereo SPLHCB version of Within You Without You by 5 point 61 per cent it drops one complete semitone and matches the instrumental track released on Anthology 2. Assuming that the instrumental track released on Anthology 2 represents the original speed of the track, you'd have to speed it up (by 5 point 95 per cent) to raise it one semitone and match the stereo SPLHCB version.

 

"For No One" is also in B or thereabouts (according to the trumpet player, it was recorded "in the cracks" between keys).

 

I'm pretty sure I read somewhere that only the mono had it's speed changed.

 

I have always thought... that I've Just Seen a Face was sped up.