The Beatles - Sgt. Pepper 50th Anniversary outtakes only (Content and Discussion thread)

I love "Strawberry Field (Take 7)" and the early mono mix of Lucy. That's about it. The rest is interesting but nothing I would want to listen to. Just "too early" "too rough" on some tracks. Like the early Lucy takes without the chorus. There's something missing.

 

Think you answered your own question there now all the arguments over "sounds great! sounds terrible! sounds brickwalled! doesn't look brickwalled!" can be over there



And then the discussion on the outtakes can be over here!

 

Really like the early takes of A Day In The Life of the little bit I've listened to so far.

 

Because this is the thread where people actually discuss about outtakes without endlessly debating about DR values, trumpet ending, promo mix and all that stuff

Anyway, I suggest everyone to isolate the R Channel from Getting Better (T 12), so you can hear the almost isolated doubletracked bass and drums, they sound so great and powerful!

 

I was just wondering what the hell that was on take 6 - so you can hear it on the final mix then? Must admit I've never noticed it before

 

I can't believe that take 26 was ever intended to play that fast. It's Chipmunks-like. Ruins it for me.

Everything else gets a thumbs up

 

Weird I liked 26.

 

I think it was @slane who explained that they recorded John's vocal so that it appeared to be faster (either by recording his vocal with the tape slowed down or the other way round - I think) but then they slowed down the track so it matched the much slower take 7 when they edited the 2 together for the final master. I think what we're hearing here is take 26 at it's orginal speed. Mark Lewisohn described it as having 'an intensity of almost frightening proportions'

 

It's not just the vocal that's fast tho. The whole track plays faster

 

Cool as f***, thanks for the heads up about this - obvious I know but man Paul was a great melodic bass player

 

So now I know where that "Free now" bit from Liverpool Sound Collage came from. At least he didn't run it into the ground with excessive repetition on the Pepper outtake.

 

Yep it is certainly audible on the stereo MMT mix (that's the one I'm most familiar with)! So cool.

 

It's correct. That's how the "second version " was put together. Higher speed and pitch. Thankfully, because when Geoff Emerick sped up Take 7 and slowed down Take 26, they matched perfectly for the edit at 1:00, and we had the magic that is the released version!

 

Penny Lane Capitol mono is the most disappointing, Sounds like a bad needle drop!

 

So I guess it's there more for historical / completeness than pure musical reasons. I don't like it presented as it is sadly, but I can understand why they chose it.

 

Yes, the approach here was, mostly, to present the working takes as recorded without much fussing. Lots of boots have Take 26 slowed to the final speed. It's probably on You Tube somewhere. And the ending drums are on Anthology 2, spliced to Take 7. The real prize here for SFF is Take 1 with the heartbreakingly gorgeous backing vocals intact (they were mixed out on Anthology 2)!

 

The way I remember reading about this was that Lennon said he like both takes and couldn't decide, so he asked Martin to somehow combine the two, basically walking out of the control room with a "you'll figure something out." Maybe it was Emerick who figured out that slowing down take 26 to the tempo of take 7 just happened to put them in nearly perfect pitch synchronization. Great end-product no matter how it happened.

I personally love Take 26 with the backwards hi-hat and all.

 

Yes, this is basically correct. It's just a miracle that the second version happened to be at the precise higher tempo so that when the tape was slowed down, the pitch could match Take 7. Magic.

 

great thread! loving the outtakes, especially a day in the life, such a special song. and strawberry fields take 1 is gorgeous.

 

This is a superb post that I saved from the anticipation thread, I think it was @slane who posted it initially - some great info here for those of us who are loving these outtakes



Here are my updated notes to all the tracks featured on the Sessions discs of the new set (thanks again to @Onder for help and corrections), in the order I posted them.


#1
Lovely Rita (Take 9)

A reduction mix of the four tracks of Take 8 (John acoustic/George acoustic/Drums/Piano). The song was sped up during the reduction mix. Overdubs of bass and Paul's lead vocal (the latter recorded running slow to sound sped-up on normal playback). All work after this was done on new reduction mixes (Takes 10+), so should not be included here.

So for this song (assuming they sync the first-gen elements of Takes 8 & 9) the tracks available for remixing are: 2 acoustic guitars, drums, piano, bass, lead vocal.

I presume the song will be presented at the speed of Take 9, and the elements of Take 8 will be sped up to match. Some speech will also be included on the CD.


#2
Sgt Pepper's Lonely Hearts Club Band (Take 9)

Track 1: Paul & George guitars/Ringo drums (all recorded in mono)
Track 2: Bass overdub
Track 3: Vocal overdub
Track 4: Second vocal overdub

A reduction mix was then made (instruments/vocals), onto which went the brass overdub, and a guitar overdub by Paul.

Without those overdubs, this will essentially be (like Lovely Rita) another stripped-down mix of the master, but this time sourced all from a single 4-track tape.

Also included is Take 1, which is an alternate version of the basic backing recorded on Track 1. If kept authentic (and not 'demixed'), this should be a mono track.


#3
Fixing A Hole (Takes 1 & 3)

Info on this one is very sketchy. But the released Take 3 was a reduction of Take 2 recorded at Regent Sound, which featured:

1: Drums, bass, harpsichord, maracas (it seems likely that John must have played the bass on the original track, with Paul on harpsichord)
2: Live lead vocal
3: Lead guitar
4: Lead guitar doubling (?)

The reduction into Take 3 probably combined Tracks 3 & 4, essentially freeing up another track for backing vocals. Somehow, Paul's lead vocal received double-tracking, perhaps during the reduction. Or possibly the double lead guitar part was played by George & Paul in unison, leaving Track 4 open for the extra vocal.

1: Drums, bass, harpsichord, maracas (straight copy of Track 1 of Take 2)
2: Lead vocal (double-tracked)
3: Lead guitars (double-tracked)
4: Backing vocals (new overdub)

Though this track is one the '& Speech' tracks on the CD, on the face of it, it doesn't seem like this could be anything but another remix of the master. Unless they can retrieve some unused part from Take 2, or maybe use only the live vocal from Take 2, this could potentially just be an alternate mix of what's on the album remix.

As the producers seem to have otherwise steered clear of using the final, finished takes of songs elsewhere on the Sessions discs, this is a bit of a head-scratcher.

To add to the confusion, there are actually two Take 3's, as well as two Take 1's:

Regent Sound -
Take 1 - complete
Take 2 - complete, eventually used as the master
Take 3 - incomplete

A remake was then recorded back at EMI which was called "Take 1". This was scrapped, and Take 2 from Regent was deemed usable after all and given a reduction mix, becoming "Take 3", which became the released version.

So, on the Sessions discs we are getting versions of Take 1 and Take 3. But which versions?


#4
Penny Lane (Take 6 - instrumental)

The basis for the final master, this might be a slightly odd one as it features only pianos and a couple of other things.

1: Piano (Paul)
2: Piano overdub (the one that comes in on the second half of the verses)
3: Another piano overdub plus tambourine, both fed through a Vox amplifier
4: Effects overdub (percussion, cymbals, harmonium)

Obviously, this track received lots more reductions and overdubs before completion.

Also to be included is Penny Lane (Vocal overdubs & Speech) - whether this will be ONLY the vocals, or will have some backing included remains unclear. It might even be some of the 'scat singing' that was recorded to indicate where the horn parts should go.

The Sessions disc also offers a new remix of the Final Master.


#5
Lucy In The Sky With Diamonds (Takes 1 & 5)

Another relatively straightforward take, all recorded live onto all 4 tracks. Take 7 became the basis for the master version, this is an earlier take.

1: Acoustic guitar (George), piano (George Martin)
2: Lowrey organ (Paul)
3: Drums (Ringo)
4: Vocal (guide - John), and possibly maracas

Two early takes that are unrelated to the master (which was Take 7, with later reductions and overdubs). Obviously these might sound a bit 'bare'.


#6
A Day In The Life (Takes 1 & 2)

Parts of both of these takes were used in the Anthology 2 composite, but here they will be complete. These takes were not used for the master.

1: Acoustic guitar, piano, congas, maracas
2: -
3: -
4: John's vocal

Again, very straightforward. Anthology had the mix in mono, as there is only an instruments track and a vocal track. What will Giles do here?

Also included as separate tracks are the Humming Ending (4 takes) and the Final Piano Chord, as well as theOrchestra Overdubs. Not sure if the latter will be just the crescendo(s) parts or the whole track. The 2CD version seemingly features Take 1 with the (final?) humming ending edited onto the end.


#7
When I'm Sixty Four (Take 2)

The master take before it was reduced and further overdubs added.

1: Drums, bass, electric guitar
2; Piano overdub (Paul)
3. Lead vocal overdub (Paul)
4: Backing vocals (J,P,G) and chimes (Ringo) overdub

Hopefully, this will be presented at the original recorded speed (it was sped up during final mixing). Another stripped-down master.


#8
Good Morning Good Morning (Take 8)

We already have this take on Anthology 2. I can't see what could be much different about the new version.

Basic track of drums, percussion & electric rhythm guitar.
Overdubs at the next session of bass and lead vocal.

After this, a reduction mix was made, so nothing else is part of 'Take 8'.

So again, we get a stripped-down master (which I'm fine with, as generally only the master takes received overdubs. Completely different takes will usually be very bare).

Also included in the box set is the instrumental-only Take 1, which is a breakdown and without overdubs.


#9
With A Little Help From My Friends (Takes 1 & 2 - instrumental)

1: Piano (Paul)
2: Rhythm guitar (George)
3: Drums (Ringo) and cowbell (John - giving him a break from maracas )
4: Organ (George Martin - intro only?)

Take 1 was a breakdown, Take 2 was complete. All takes started with the 'Billy Shears' intro piece. Take 10 became the master, which was then reduced and overdubbed.


#10
She's Leaving Home (Takes 1 & 6 - instrumental)

These backing tracks were recorded by the ten session musicians with no Beatles, using all 4 tracks of the tape. Both of these takes were then reduced, with the best one (Take 9, made from Take 1) selected for the vocal overdubs.

So here we will get two presentations of the backing only, mixed from 4 tracks (rather than from the 2 tracks of the reduction). Take 1 is the backing we're familiar with, Take 6 is an alternate. If my theory is correct (that the backing was sped-up when the vocals were added, and the mono mix was then made at that same faster speed), and if the producers of the box set present the material at the correct speed, then these takes should be in the key of E. This was the speed the original stereo mix was made at (which, IMO, caused the vocals to run slow on that mix). The stereo remix of the master on CD1 has been made to run at the speed of the mono mix, nearer to the key of F.

Without any vocals though, the speed shouldn't be an issue anyway. The strings were recorded in E and should be presented that way.
These versions should also include the short sections edited out of the final master.


#11
Getting Better (Take 12)

This is a reduction of Take 7, which consisted of:

1: Drums
2: Electric guitars
3: Pianet
4: Guide vocal

This was then copied over (minus the guide vocal) to one track of a new tape to produce Take 12, and overdubs added:

1: Drums, Electric guitars, Pianet (from Take 7)
2: Snare double tracking
3: Bass guitar, Bass drum
4: Tamboura

So there are 7 tracks to work from for this mix, which is essentially another stripped-down master. However, unless they are flying-in stuff from later reductions (which I don't think they will, otherwise why call it Take 12?), then this must feature the 'lost' guide vocal from Take 7. Backing vocals and other later elements will be missing.

The Take 1 - instrumental that is also included should feature the same elements as Take 7, though they must have mixed out the guide vocal - if there was one.


#12
Being For The Benefit Of Mr Kite (Takes 4 & 7)

I'm not sure of the exact track layout (particularly where the tambourine went), but I think it's something like:

1: Drums (Ringo) and tambourine (George)
2: Bass (Paul)
3: Harmonium (George Martin)
4: Guide vocal (John)

Both takes should feature the same skeletal elements. Take 7 was later reduced for further work. As has been discussed, Anthology 2 also included a 'Take 7', but it doesn't correspond to the master so was probably mis-identified there.


#13
Within You Without You (Take 1 - instrumental)

1: Tambouras
2: Tabla and svarmandal
3: Overdub of 2 more dilrubas (done a week later)
4: Dilruba (from original session)

I presume the overdubs on Track 3 will be included. This tape was then reduced for more overdub work. Also included is the 'George coaching the musicians' track.


#14
Sgt Pepper Reprise (Take 8)

This was the only song to be recorded directly to 4 tracks, with no need for reduction mixes. This is an alternate take (the master was Take 9, and Take 5 was on A2).

So this will be the band live in the studio - the main instruments on one track (drums, organ, lead guitar, rhythm guitar) and a guide vocal by Paul.on another.

No overdubbed final vocals, percussion or bass.


#15
Strawberry Fields Forever (Takes 1, 4, 7, & 26)

a. Take 1

1: Mellotron (Paul), Drums (Ringo), Electric guitar (George?)
2: Lead vocal (John) and slide guitar (George)
3: Vocal doubling (John)
4: Harmonies (J,P,G)

All elements on one 4-track tape. Hopefully the new mix will include the harmonies on Track 4 (mixed out of the Anthology 2 version).

b. Take 4

Not sure of the actual track layout on this take. But again it was all recorded on one 4-track tape and featured:

Drums, Mellotron, electric guitars, maracas, and overdubs of bass and lead vocal.

Again, 4 tracks available here for the remix.

c. Take 7

I'm not sure of the track layout, but this version began with Take 6, which featured:

Drums, Mellotron, electric guitars, and overdubs of bass and lead vocal. This was then reduced into Take 7.

Onto the newly made Take 7 was overdubbed - second vocal and more Mellotron.

Take 7 was used for the first minute of the final version, although the first chorus was moved to begin after the first verse (instead of after the second verse).

So, at least 6 tracks available for the remix. A rough 1966 mono mix of this take was used on A2 (crossfaded into the end of Take 24). Here it will be in stereo.

d. Take 26

This began as an edit of Takes 15 & 24 of a new backing track. This appears to consist solely of drums and percussion. The edit was given a reduction mix, into Take 25.

With the backing track reduced to one track of Take 25, lead guitar (by Paul) and Mellotron were overdubbed onto Track 2. Brass and cellos went onto Tracks 3 & 4.

This was all reduced again, into Take 26. John then recorded his lead vocal onto Track 3, and a second vocal plus svarmandal (George) was recorded onto Track 4.

A few days later, John re-recorded his lead vocal on Track 3 (wiping the previous attempt), and snare drum and piano was also added on this track.

At least 9 tracks available on this take for the remix. I presume it will be presented at the original faster speed (and not the slowed-down speed featured on the second half of the master). Reviewing the details of this take, it seems that the beginning vocal (originally on Track 3) used on a rough mono mix will no longer be available (unless it is 'demixed' from the rough mono mix in order to present a complete vocal track).

The Sessions disc also offers the 2015 remix of the Final Master, an edit of Takes 7 & 26.

 

Loved all the out-takes. Penny Lane Take 6 is incredible. Very happy with the whole production, hope there is more to come.

 

I can't tell the difference between the two takes of 'Shes Leaving Home' it seems a waste to give us both of these version instead of something else, which is the best version I can't tell for my playlists because having both is silly IMO, they could have at least including a vocal outtake.. anything but two virtually the same tracks

 

I posted my condensed outtakes playlist in the old, old thread. Here it is again (with one slight revision). A really good listen, though I really like all of the outtakes:

01. Strawberry Fields Forever (Take 1)
02. Strawberry Fields Forever (Take 7)
03. When I'm Sixty Four (Take 2)
04. Strawberry Fields Forever (Take 26)
05. Penny Lane (Take 6)
06. Penny Lane (Vocal Overdubs)
07. A Day In The Life (Take 1)
08. A Day In The Life (Orchestra)
09. A Day In The Life (Final Chord)
10. Sgt Pepper's Lonely Hearts Club Band (Take 9)
11. Good Morning Good Morning (Take 8)
12. Fixing A Hole (Take 1)
13. Being For The Benefit Of Mr Kite (Take 7)
14. Lovely Rita (Take 9)
15. Lucy In The Sky With Diamonds (Take 5)
16. Getting Better (Take 12)
17. Within You Without You (Rehearsal)
18. She's Leaving Home (Take 6)
19. With A Little Help From My Friends (Take 2)
20. Sgt Pepper Reprise (Take 8)


Of the others:

Strawberry Fields Forever (Take 4) - the 'worst' version, though they're all good
A Day In The Life (Take 2) - not quite as interesting as the very first take of the song for me
A Day In The Life (Hummed Ending) - interesting, but it didn't really work
Sgt Pepper (Take 1) - good, but very basic take (it's mono as it's all on one track)
Good Morning Good Morning (Take 1) - again, interesting as the very basic take, breaks down
Fixing A Hole (Take 3) - the version that didn't become the master, though nearly as good. This take is on the 2CD, but I really appreciate the undubbed master take
Being For The Benefit Of Mr Kite (Take 4) - this was also chosen for the 2CD 'highlights' disc, but I prefer the other take
Lucy In The Sky With Diamonds (Take 1) - as above. And I really like the 'maraca solo' choruses on these outtakes
Getting Better (Take 1) - the most interesting of the very basic takes, this is on the 2CD. But I love the instrumental master take that focuses on the bass and tamboura
Within You Without You (Take 1) - instrumental master take, in the recorded order. Very good, but I think George's rehearsal with the musicians is more interesting
She's Leaving Home (Take 1) - instrumental master take. Both takes are almost identical, but I went with the rarer one earlier. This and WYWY are also on the 2CD

 

I heard NPRs story of the woman who the song "She's Leaving Home (Remix)" last week. I'm enjoying the outtakes from songs I haven't listened to in years. Very enjoyable.

 

Re the Penny Lane overdub track: were any of the vocals from George/Paul used in the final mix? I assume handclaps were...

Also what's that keyboard that emerges loudly near the end? Harmonium? Also, why is that suddenly so clear?