Beatles songs not recorded at Abbey Road?

Can anyone compile a list of official Beatles releases that the main released version wasn't recorded at Abbey Road and the reason it was recorded elsewhere?

I'm talking about studio recordings since signing the contract with EMI, not counting live, BBC recordings and recordings that became part of "Anthology".

I can only think of 2. "Can't Buy Me Love" was recorded in Paris and "Hey Jude" was recorded at Trident. Was that because Trident had 8 track recorders and Abbey Road still only had 4 track recorders?

I remember reading that the Beatles wanted to record in the US but the studio fees were too high.

Tim

 

I do believe that "Baby You're a Rich Man" was recorded elsewhere, maybe Olympic.

What of the German-language single of 1964?

And....what of the "Let It Be" sessions (including "Don't Let Me Down")? Except for "Across the Universe" and "I Me Mine," I think that was all done on a soundstage and rooftop, yes?

 

"Fixing a Hole" was recorded outside of Abbey Road. At least parts of it where recorded at Regent Sound.

 

Nope. All of She's Leaving Home was done at Abbey Road.

Fixing a Hole was done at Regent Sound. It's All Too Much was done at De Lane Lea..

 

We could also include the various Tony Sheridan recordings that were recorded in Germany in 1961.

 

Re. posts #1 and 2.

'Komm, Gib Mir Deine Hand'; 'Sie Leib Dich'; and 'Can't Buy Me Love'.

Pathe Marconi Studios, Paris, January 1964.

IIRC, 'Komm ...' was mostly a new recording; 'Sie ...' was a totally new recording track; 'Can't Buy Me Love' was began and almost totally completed in Paris, with a guitar over-dub and a bit of vocal over-dub finishing off the recording a little later at Abbey Road.

 

Yea, I know. I fixed it right after I posted it. I meant "Fixing a Hole," but typed "She's Leaving Home." You beat me to the punch!

 

Wasn't at least half of "(I Want You) She's So Heavy" recorded at Trident?

 

Yes sir. I believe you are correct!

 

Wasn't "The Inner Light" - or parts thereof - recorded in India?

 

"Dear Prudence" was recorded at Trident (due to the 8-track facility there).

Songs from Let It Be that were recorded at Apple Studios:

Two Of Us
Dig A Pony (rooftop)
Dig It
Let It Be
Maggie Mae
I've Got A Feeling (rooftop)
One After 909 (rooftop)
The Long and Winding Road
For You Blue
Get Back
Don't Let Me Down (single)

 

Here's a list....
Feb 9 1967 Regent Sound Studio: Fixing A Hole
May 11 1967 Olympic Sound Studios: Baby You're A Rich Man
May 25/26, June 2 1967 De Lane Lea Music Recording Studios: It's All Too Much
June 14 1967 Olympic Sound Studios All You Need Is Love (backing tracks)
August 22/23 1967 Chappell Recording Studios: Your Mother Should Know
October 12 1967 De Lane Lea Recording Studios: Shirley's Wild Accordian (MMT soundtrack)
Jan 12 1968 EMI Recording Studio, Bombay India: The Inner Light (backing tracks)
July 31, August 1/2 1968 Trident Studios: Hey Jude
August 13 1968 EMI Studios Annexe Closet: Yer Blues
August 28-30 1968 Trident Studios: Dear Prudence
October 1/2 1968 Trident Studios: Honey Pie
October 3/5 1968: Trident Studios: Savoy Truffle
October 4 1968: Trident Studios: Martha My Dear
January 24 1969 Apple Studios: Maggie Mae
January 25 1969 Apple Studios: For You Blue
January 26 1969 Apple Studios: Dig It
January 28 1969 Apple Studios: Get Back, Don't Let Me Down
January 30 1969 Apple Studios Roof: One After 909, I've Got A Feeling, Dig A Pony
January 31 1969 Apple Studios: Two Of Us, Let It Be, The Long And Winding Road
February 22 1969 Trident Studios: I Want You
May 5 1969 Olympic Studios: Something (lead guitar and bass overdubs)
May 6 1969 Olympic Studios: You Never Give Me Your Money

 

For some reason, I thought that more songs from the White Album were done at Trident... I've always felt the drums sound different on the White album.

 

George and other musicians recorded the backing tracks for "The Inner Light" at EMI Bombay on 12 Jan 1968. A lot of "Wonderwall" was recorded in Bombay at the same time.

Lead and backing vocals were recorded the 6th and 8th of February. At Abbey Road.

Cheers,
Doug Piero Carey

 

No, just the sessions I listed. There's a lot of reasons for the differences in sound quality you note. After working at Trident with Jackie Lomax and using their 8-track facilities, the Beatles, especially George Harrison wanted all future recordings to be on 8-track. After recording Hey Jude at Trident, the Beatles and technical guru Ken Townshend liberated an 8-track console from EMI's storage facility and a new era in Beatles recording commenced.

Another major reason for any perceived sound changes is principle engineer and sound technician, Geoff Emerick left the sessions less than halfway through....July 16 to be exact. Second engineer, Ken Scott, became Martin's right-hand man. Also, George Martin himself took extended time off and his assistant Chris Thomas became the de-facto producer (though most accounts say the individual Beatles more or less produced themselves), using no less than 3 balance engineers, Ken Scott, Mike Sheady and Phil McDonald. He (they) produced the following released takes... Helter Skelter, Glass Onion, I Will, Birthday, Piggies, Happiness Is A Warm Gun, and What's The New Maryjane. Thomas also played harpsichord on Piggies and Not Guilty. Again, lots of reasons for subtle and not-so-subtle changes in sound. Ron

 

Doug...didn't you read my list?

 

Huh. Sure did read it! Right after I posted!

Cheers,
Doug

 

The bass as well, Paul had a different, more trebly Rickenbacker bass sound that I love on that whole album. His bass never sounded like that on any other recordings, before or since.

 

Wasn't that a Fender Jazz on a few songs?

 

I've seen pictures of him playing a Fender Jazz during the sessions....particularly on sessions attributed to Revolution 1. Harrison also plays a Fender on a few tracks...and Lennon plays a Fender VI on Back In The USSR.

 

Such a bad boy...

 

But... "She's Leaving Home" was not orchestrated by George Martin.

 

I'm sure brainwashed knows this already but in case anyone is wondering just what Shirley's Wild Accordian is..

It was incidental music recorded for MMT but not used in the film and hasn't been booted. The "Wild" designation is because the music wasn't tied to a particular scene. Shirley Evans plays a "jaunty" theme on accordinan, her partner, Reg Wale is on percussion. The last few takes have Ringo on drums and Paul on maracas and vocal exclamations. Interestingly Evans was playing a score written by Mike Leander (of She's Leaving Home fame). Shirley's Wild Accordian is credited to Lennon/Mccartney.

 

Thanks Chris, it took me long enough to compile the list...I was too tired to give an accounting of this rare L&M "song"....Thanks, Ron

PS An addendum....
June 22/23/24 1961 Friedrich Ebert Halle, Hamburg, W. Germany: My Bonnie, The Saints, Take Out Some Insurance On Me, Aint She Sweet, Nobody's Child, Sweet Georgia Brown (ver 1), Why (Cant You Love Me Again) Cry For A Shadow.
Jan 1 1962 Decca Studios, Broadhurst Gardens: Like Dreamer's Do, Money, Till There Was You, The Sheik Of Araby, To Know Her Is To Love Her, Take Good Care Of My Baby, Memphis, Tennessee, Sure To Fall, Hello Little Girl, Three Cool Cats, Crying, Waiting, Hoping, Love Of The loved, September In The Rain, Besame Mucho, Searchin'
January 29 1964 Pathe Marconi Studios, Paris, France: Komm, Gib Mir Deine Hand (vocals only) Sie Liebt Dich, Can't Buy Me Love (guitar solo and backing vocals re-done Feb 25 at Abbey Road, Studio 2)

 

Thank you very much for all these details.

I'm amazed that John & George played so much Fender VI. Seems they never play a regular four-strings bass?
What amazes me the most is I never seem to hear the difference on the records; I mean, I have a Fender VI, and it doesn't sound like a normal bass.