Draft:The Beatles' recording sessions (1967–1970)

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For the book by Mark Lewisohn, see The Complete Beatles Recording Sessions.

The recordings made by the Beatles, a rock group from Liverpool, England, from their inception as the Quarrymen in 1957 to their break-up in 1970 and the reunion of their surviving members in the mid-1990s, have huge cultural and historical value. The studio session tapes are kept at Abbey Road Studios, formerly known as "EMI Recording Studios," where the Beatles recorded most of their music.[1] While most have never been officially released, their outtakes and demos are seen by fans as collectables, and some of the recordings have appeared on countless bootlegs. The only outtakes and demos to be officially released were on The Beatles Anthology series and its tie-in singles and anniversary editions of their studio albums . Bits of some previously unreleased studio recordings were used in The Beatles: Rock Band video game as ambient noise and to give songs studio-sounding beginnings and endings. In 2013, Apple Records released the album The Beatles Bootleg Recordings 1963, which includes previously unreleased outtakes and demos from 1963, to stop the recordings from falling into the public domain.[2]

1967

Sgt. Pepper's Lonely Hearts Club Band sessions (cont.)

2 January 1967

Studio Two (Control Room Only), EMI Studios, London (2.30–4.00pm)[3]
  • Tape Copying
    • "When I'm Sixty-Four" (of Remix Mono 8)
    • ""Strawberry Fields Forever" (of Remix Mono 12)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

4 January 1967

Studio Two, EMI Studios, London (7.00pm–2.45am)[3]
  • Recording
    • "Penny Lane" (SI onto take 7)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

5 January 1967

Studio Two, EMI Studios, London (7.00pm–12.15am)[3]
  • Recording
  • Mono Mixing
    • "Untitled" (AKA "Carnival of Light") (from take 1)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil Mcdonald (2nd Engineer)

6 January 1967

Studio Two, EMI Studios, London (7.00pm–1.00am)[3]
  • Recording
    • "Penny Lane" (SI onto take 7, tape reduction take 7 into take 8, SI onto take 8, tape reduction take 8 into take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

9 January 1967

Studio Two, EMI Studios, London (7.00pm–1.45am)[4]
  • Recording
    • "Penny Lane" (SI onto take 9)
  • Mono Mixing
    • "Penny Lane" (Remixes 5 and 6, from take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

10 January 1967

Studio Three, EMI Studios, London (7.00pm–1.45am)[4]

12 January 1967

Studio Three, EMI Studios, London (2.30–11.00pm)[4]
  • Recording
    • "Penny Lane" (SI onto take 9)
  • Mono Mixing
    • "Penny Lane" (Remixes 7 and 8, from take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

17 January 1967

Studio Two, EMI Studios, London (7.00pm–12.30am)[4]
  • Recording
    • "Penny Lane" (SI onto take 9)
  • Mono Mixing
  • Tape Copying
    • "Penny Lane" (of remix mono 11)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

19 January 1967

Studio Two, EMI Studios, London (7.30pm–2.30am)[5]

20 January 1967

Studio Two, EMI Studios, London (7.00pm–1.10am)[5]
  • Recording
    • "A Day in the Life" (tape reduction take 4 into takes 5–7, SI onto take 6)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

25 January 1967

Studio One (Control Room Only), EMI Studios, London (6.30–8.30pm)[5]
  • Mono Mixing
    • "Penny Lane" (Remixes 12–14, from take 9) remix 14 released as a single; included on Magical Mystery Tour (mono, U. S.)
Studio One (Control Room Only)
9.00–10.00pm
  • Tape Copying
    • "Penny Lane" (of Remix Mono 14)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Phil McDonald (2nd Engineer)

30 January 1967

Studio Three (Control Room Only), EMI Studios, London (7.00–8.30pm)[5]
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

1 February 1967

Studio Two, EMI Studios, London (7.00pm–2.30am)[6]

2 February 1967

Studio Two, EMI Studios, London (7.00pm–1.45am)[6]
  • Recording
    • "Sgt. Pepper's Lonely Hearts Club Band" (SI onto take 9 into take 10)
  • Mono Mixing
    • "Sgt. Pepper's Lonely Hearts Club Band" (Remix 1, from take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

3 February 1967

Studio Two, EMI Studios, London (7.00pm–1.15am)[6]
  • Recording
    • "A Day in the Life" (SI onto take 6)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

8 February 1967

Studio Two, EMI Studios, London (7.00pm–2.15am)[6]

9 February 1967

Regent Sound Studio, 164–166 Tottenham Court Road, London WI (Time unknown)[6]

10 February 1967

Studio One, EMI Studios, London (8.00pm–1.00am)[7]

13 February 1967

Studio Two, EMI Studios, London (7.00pm–3.30am)[8]
  • Mono Mixing
    • "A Day in the Life" (Remixes 2–5, from take 7)
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

14 February 1967

Studio Two, EMI Studios, London (7.00pm–12.30am)[8]
  • Recording
    • "Only a Northern Song" (Tape Reduction take 3 into takes 10–12, SI onto take 12)
  • Mono Mixing
    • "Only a Northern Song" (Remixes 1–3, from take 12)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

16 February 1967

Studio Three, EMI Studios, London (7.00pm–1.45am)[8]
  • Recording
    • "Good Morning Good Morning" (SI onto take 8, Tape Reduction take 8 into takes 9 and 10)
  • Mono Mixing
    • "Good Morning Good Morning" (Remix 1, from take 8)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

17 February 1967

Studio Two, EMI Studios, London (7.00pm–3.00am)[9]

20 February 1967

Studio Three, EMI Studios, London (7.00pm–2.15am)[10]
  • Recording
    • "Being for the Benefit of Mr. Kite!" (Unnumbered take)
  • Mono Mixing
    • "Good Morning Good Morning" (Remix 1, from take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

21 February 1967

Studio Two, EMI Studios, London (7.00pm–12.45am)[10]
  • Recording
    • "Fixing a Hole" (Take 1, Tape Reduction take 2 into take 3, SI onto take 3)
  • Mono Mixing
    • "Fixing a Hole" (Remixes 2–6, from take 3)
  • Editing
    • "Fixing a Hole" (of Mono Remixes 3 and 6) – released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

22 February 1967

Studio Two, EMI Studios, London (7.00pm–3.45am)[10]
  • Recording
  • Mono Mixing
    • "A Day in the Life" (remixes 6 – 9, from takes 6 and 7)
  • Editing
  • Stereo Mixing
    • "A Day in the Life" (remixes 1–9, from takes 6 and 7)
  • Recording
    • "Anything (AKA Drum Track(1)" (take 1)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

23 February 1967

Studio Two, EMI Studios, London (7.00pm–3.45am)[11]
  • Stereo Mixing
    • "A Day in the Life" (remixes 10–12, from takes 6 and 7)
  • Editing
    • "A Day in the Life" (of stereo remix 12 and edit piece 9) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Recording
    • "Lovely Rita" (takes 1–8, tape reduction take 8 into take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

24 February 1967

Studio Two, EMI Studios, London (7.00pm–1.15am)[11]

28 February 1967

Studio Two, EMI Studios, London (7.00pm–3.00am)[11]
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

1 March 1967

Studio Two, EMI Studios, London (7.00pm–2.15am)[11]

2 March 1967

Studio Two, EMI Studios, London (7.00pm–3.30am)[12]
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

3 March 1967

Studio Two, EMI Studios, London (7.00pm–2.15am)[12]
  • Recording
    • "Sgt. Pepper's Lonely Hearts Club Band" (SI onto take 10)
  • Mono Mixing
    • "Lucy in the Sky with Diamonds" (remixes 1–4 from take 8) – remix 4 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

6 March 1967

Studio Two, EMI Studios, London (7.00pm–12.30am)[12]
  • Recording
    • "Sgt. Pepper's Lonely Hearts Club Band" (SI onto take 10)
  • Mono Mixing
    • "Sgt. Pepper's Lonely Hearts Club Band" (remixes 2 and 3 from take 10) – remix 3 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Stereo Mixing
    • "Sgt. Pepper's Lonely Hearts Club Band" (remixes 1 – 8 from take 10) – remix 8 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

7 March 1967

Studio Two, EMI Studios, London (7.00pm–2.30am)[12]
  • Recording
    • "Lovely Rita" (SI onto take 11)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

9 March 1967

Studio Two, EMI Studios, London (7.00pm–3.30am)[13]

10 March 1967

Studio Two, EMI Studios, London (7.00pm–4.00am)[13]

13 March 1967

Studio Two, EMI Studios, London (7.00pm–2.30am)[13]
  • Recording
    • "Good Morning Good Morning" (SI onto take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

15 March 1967

Studio Two, EMI Studios, London (7.00pm–1.30am)[14]

17 March 1967

Studio Two, EMI Studios, London (7.00pm–12.45am)[14]

20 March 1967

Studio Two, EMI Studios, London (7.00pm–3.30am)[14]
  • Editing
    • "She's Leaving Home" (of mono remix 6) – released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Ken Scott (2nd Engineer)

21 March 1967

Studio Two, EMI Studios, London (7.00pm–2.45am)[15]
  • Recording
    • "Getting Better" (tape reduction take 12 into takes 13 and 14, SI onto take 14)
    • "Lovely Rita" (SI onto take 11)
  • Mono Mixing
    • "Lovely Rita" (remixes 1 – 15 from take 11)
  • Editing
    • "Lovely Rita" (of mono remixes 11 and 14) – released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

22 March 1967

Studio Two, EMI Studios, London (7.00pm–2.15am)[15]
  • Recording
    • "Within You Without You" (SI onto take 1, tape reduction take 1 into take 2)
  • Mono Mixing
    • "Within You Without You" (remix 1 from take 2)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

23 March 1967

Studio Two, EMI Studios, London (7.00pm–3.45am)[15]
  • Recording
    • "Getting Better" (SI onto take 14, tape reduction take 14 into take 15, SI onto take 15)
  • Mono Mixing
    • "Getting Better" (remixes 1 – 3 from take 15) – remix 3 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: Peter Vince (Producer and Engineer), Ken Scott (2nd Engineer)

28 March 1967

Studio Two, EMI Studios, London (7.00pm–4.45am)[16]
  • Recording
    • "Good Morning Good Morning" (SI onto take 10, tape reduction take 10 into take 11, SI onto take 11, unnumbered take)
    • "Being for the Benefit of Mr. Kite!" (SI onto take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

29 March 1967

Studio Two, EMI Studios, London (7.00pm–5.45am)[17]
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

30 March 1967

Studio Two, EMI Studios, London (11.00pm–7.30am)[17]
  • Recording
    • "With a Little Help from My Friends" (SI onto take 11)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

31 March 1967

Studio Two, EMI Studios, London (7.00pm–3.00am)[17]
  • Mono Mixing
    • "With a Little Help from My Friends" (remixes 1 – 15 from take 11) – remix 7 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Recording
    • "Being for the Benefit of Mr. Kite!" (SI onto take 9)
  • Mono Mixing
    • "Being for the Benefit of Mr. Kite!" (remixes 1 – 7 from take 9) – remix 4 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

1 April 1967

Studio One, EMI Studios, London (7.00pm–6.00am)[18]

3 April 1967

Studio One, EMI Studios, London (7.00pm–3.00am)[18]
  • Recording
    • "Within You Without You" (SI onto take 2)
Studio Two (control room only), EMI Studios, London (3.00am–6.30am)[18]
  • Mono Mixing
    • "Within You Without You" (remixes 1 – 3 from 'part 1' of take 2, remixes 4 and 5 from 'parts 2 and 3' of take 2)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

4 April 1967

Studio Two (control room only), EMI Studios, London (7.00pm–12.45am)[18]
  • Mono Mixing
    • "Within You Without You" (remixes 6 – 11 from 'part 1' of take 2, remix 12 from 'parts 2 and 3' of take 2)
  • Editing
    • "Within You Without You" (of mono remixes 10 and 12, with SI) – released on Sgt. Pepper's Lonely Hearts Club Band (mono)
  • Stereo Mixing
    • "Within You Without You" (remixes 1 – 3 from 'part 1' of take 2, remixes 4 and 5 from 'parts 2 and 3' of take 2)
  • Editing
    • "Within You Without You" (of stereo remixes 3 and 5, with SI) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

6 April 1967

Studio Two (control room only), EMI Studios, London (7.00pm–1.00am)[18]
  • Mono Mixing
    • Crossfades for LP
    • "Good Morning Good Morning" (remixes 1 and 2 from take 11)
  • Stereo Mixing
    • "Good Morning Good Morning" (remixes 1 – 5 from take 11) – remix 5 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

7 April 1967

Studio Two (control room only), EMI Studios, London (7.00pm–1.00am)[19]
  • Stereo Mixing
    • Crossfades for LP
    • "With a Little Help from My Friends" (remixes 1 – 3 from take 11) – remix 3 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
    • "Being for the Benefit of Mr. Kite!" (remixes 1 – 8 from take 9) – remix 8 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
    • "Fixing a Hole" (remix 1 from take 3) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
    • "Lucy in the Sky with Diamonds" (remixes 1–5 from take 8) – remix 5 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

17 April 1967

Studio Two (control room only), EMI Studios, London (7.00pm–1.00am)[19]
  • Stereo Mixing
    • "Getting Better" (remix 1 from take 15) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
    • "She's Leaving Home" (remixes 1 – 6 from take 9)
    • "When I'm Sixty-Four" (remix 1 from take 4) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
    • "Lovely Rita" (remixes 1 and 2 from take 11) – remix 2 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Editing
    • "She's Leaving Home" (of stereo remix 6) – released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

19 April 1967

Studio Two (control room only), EMI Studios, London (7.00pm–12.30am)[20]
  • Mono Mixing
    • "Good Morning Good Morning" (remixes 10 – 23 from take 11) – remix 23 released on Sgt. Pepper's Lonely Hearts Club Band (mono)
    • "Only a Northern Song" (remix 4 from take 12)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

20 April 1967

Studio Two (control room only), EMI Studios, London (5.00pm–6.15pm)[20]
  • Stereo Mixing
    • "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" (remixes 1 – 10 from take 9) – remix 10 released on Sgt. Pepper's Lonely Hearts Club Band (stereo)
  • Personnel
    • Production Staff: N/A (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)
Studio Two, EMI Studios, London (7.00pm–2.15am)[20]
  • Recording
    • "Only a Northern Song" (SI onto take 3, SI onto take 11)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

21 April 1967

Studio Two, EMI Studios, London (7.00pm–1.30am)[20]
  • Mono Mixing
    • "Only a Northern Song" (remixes 1 – 11 from takes 3 and 11) – remix 6 used in Yellow Submarine (film); included on Yellow Submarine (2009 remastered) and Mono Masters
  • Recording
    • Edit for LP end (take 1)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

Magical Mystery Tour sessions

25 April 1967

Studio Three, EMI Studios, London (7.00pm-3.45am)[21]
  • Recording
    • "Magical Mystery Tour" (tape loop of coach noise, takes 1 – 3, tape reduction take 3 into takes 4 – 8)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

26 April 1967

Studio Three, EMI Studios, London (7.00pm-2.00am)[21]
  • Recording
    • "Magical Mystery Tour" (SI onto take 8, tape reduction take 8 into take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

27 April 1967

Studio Three, EMI Studios, London (7.00pm-12.45am)[21]
  • Recording
    • "Magical Mystery Tour" (SI onto take 9)
  • Mono Mixing
    • "Magical Mystery Tour" (remixes 1 – 4 from take 9)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

3 May 1967

Studio Three, EMI Studios, London (7.00pm-12.15am)[22]
  • Recording
    • "Magical Mystery Tour" (SI onto take 9)
    • Production Staff: George Martin (Producer), Malcolm Addey (Engineer), Richard Lush (2nd Engineer)

4 May 1967

Studio Three (control room only), EMI Studios, London (7.00pm-11.15pm)[22]
  • Mono Mixing
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

9 May 1967

Studio Two, EMI Studios, London (11.00pm-6.15am)[22]
  • Recording
    • "Untitled" (take 1)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

11 May 1967

Studio One, Olympic Sound Studios, London (9.00pm-3.00am)[22]
  • Recording
  • Mono Mixing
    • "Baby, You're a Rich Man" (remix 1 from take 2) – released as the B-side to "All You Need Is Love"; included on Magical Mystery Tour (mono, U. S.)
  • Personnel
    • Production Staff: George Martin (Producer), Keith Grant (Engineer), Eddie Kramer (2nd Engineer)

12 May 1967

Studio Two, EMI Studios, London (7.00pm-12.30am)[23]
  • Recording
  • Mono Mixing
    • "All Together Now" (remixes 1 – 6 from take 9) – remix 6 used in Yellow Submarine (film); included on Mono Masters
  • Personnel
    • Production Staff: N/A (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

17 May 1967

Studio Two, EMI Studios, London (7.00pm-2.30am)[23]

25 May 1967

De Lane Lea Music Recording Studio, London (time unknown)[23]
  • Recording
  • Personnel
    • Production Staff: N/A (Producer), Dave Siddle (Engineer), Mike Weighell (2nd Engineer)

31 May 1967

De Lane Lea Music Recording Studio, London (time unknown)[24]
  • Recording
    • "It's All Too Much" (tape reduction take 4 into takes 1 and 2, SI onto take 2)
  • Personnel
    • Production Staff: N/A (Producer), Dave Siddle (Engineer), Mike Weighell (2nd Engineer)

1 June 1967

De Lane Lea Music Recording Studio, London (time unknown)[25]
  • Recording
    • "Untitled (no numbered takes)
  • Personnel
    • Production Staff: George Martin (Producer), Dave Siddle (Engineer), Mike Weighell (2nd Engineer)

2 June 1967

De Lane Lea Music Recording Studio, London (8.30pm-2.00am)[26]
  • Recording
    • "It's All Too Much" (SI onto take 2)
    • "Untitled (no numbered takes)
  • Personnel
    • Production Staff: George Martin (Producer), Dave Siddle (Engineer), Mike Weighell (2nd Engineer)

7 June 1967

Studio Two, EMI Studios, London (7.00pm-2.00am)[26]
  • Recording
    • "You Know My Name (Look Up the Number)" (SI onto take 9, takes 20 – 24)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

8 June 1967

Studio Two, EMI Studios, London (7.00pm-1.00am)[26]
  • Recording
    • "You Know My Name (Look Up the Number)" (part 2 takes 1 – 12, part 3 takes 1 – 4, part 4 takes 1–6, part 5 take 1)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

9 June 1967

Studio Two (control room only), EMI Studios, London (7.00pm-11.00pm)[26]
  • Editing
    • "You Know My Name (Look Up the Number)" (take 30 consisting of takes of part 1 – 5)
  • Mono Mixing
    • "You Know My Name (Look Up the Number)" (remix 1 from take 30)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

14 June 1967

Studio One, Olympic Sound Studios, London (time unknown)[26]
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Eddie Kramer (Engineer), George Chkiantz (2nd Engineer)

19 June 1967

Studio Three, EMI Studios, London (7.00pm-1.45am)[27]
  • Tape copying
    • "All You Need Is Love" (of take 10)
  • Recording
    • "All You Need Is Love" (SI onto take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

21 June 1967

Room 53, EMI Studios, London (4.30pm-5.00pm)[27]
  • Mono Mixing
    • "All You Need Is Love" (remix 1 from take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Malcolm Addey (Engineer), Phil McDonald (2nd Engineer)
Studio Three, EMI Studios, London (7.00pm-11.30pm)[27]
  • Mono Mixing
    • "All You Need Is Love" (demo remix unnumbered)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

23 June 1967

Studio One, EMI Studios, London (4.30pm-11.00pm)[27]
  • Recording
    • "All You Need Is Love" (tape reduction of take 10, takes 34–43 as SI onto take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

24 June 1967

Studio One, EMI Studios, London (5.00pm-8.00pm)[27]
  • Recording
    • "All You Need Is Love" (takes 44–47 as SI onto take 10)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

25 June 1967

Studio One, EMI Studios, London (2.00pm-1.00am)[28]
  • Recording
    • "All You Need Is Love" (takes 48–50, BBC rehearsal takes 1–3, takes 51–53, takes 54–58 [58 being live BBC broadcast], SI onto take 58)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush/Martin Benge (2nd Engineer)

26 June 1967

Studio Two (control room only), EMI Studios, London (2.00pm-5.00pm)[29]
  • Mono mixing
    • "All You Need Is Love" (remixes 2 – 10 from take 58) – remix 4 released as a single; included on Magical Mystery Tour (mono, U. S.)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

22 August 1967

Chappell Recording Studios, London (time unknown)[30]
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), John Timperley (Engineer), John Iles (2nd Engineer)

23 August 1967

Chappell Recording Studios, London (time unknown)[30]
  • Recording
    • "Your Mother Should Know" (tape reduction take 8 into take 9, SI onto take 9)
  • Personnel
    • Production Staff: George Martin (Producer), John Timperley (Engineer), John Iles (2nd Engineer)

5 September 1967

Studio One, EMI Studios, London (7.00pm-1.00am)[30]
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Ken Scott/Richard Lush (2nd Engineer)

6 September 1967

Studio Two, EMI Studios, London (7.00pm-3.00am)[31]
  • Recording
    • "I Am the Walrus" (tape reduction take 16 into take 17, SI onto take 17)
  • Mono mixing
    • "I Am the Walrus" (remixes 1 – 4 from take 17)
  • Recording
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Ken Scott (2nd Engineer)

7 September 1967

Studio Two, EMI Studios, London (7.00pm-3.15am)[31]
  • Recording
    • "Blue Jay Way" (tape reduction take 1 into take 2, SI onto take 2, tape reduction take 2 into take 3, SI onto take 3)
  • Personnel
    • Production Staff: George Martin (Producer), Peter Vince (Engineer), Ken Scott (2nd Engineer)

8 September 1967

Studio Three, EMI Studios, London (7.00pm-2.45am)[31]
  • Recording
    • "Flying" (takes 1 – 6, tape reduction take 6 into take 7 and 8, SI onto take 8)
  • Mono mixing
    • "Flying" (remixes 1 – 4 from take 8)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

16 September 1967

Studio Three, EMI Studios, London (7.00pm-3.45am)[32]
  • Recording
    • "Your Mother Should Know" (Remake takes 20 – 30)
      • Take 27 – released on Anthology 2
  • Mono mixing
    • "Blue Jay Way" (remix 1 from take 3)
  • Tape copying
    • "I Am the Walrus" (of mono remix 4)
    • "Blue Jay Way" (of mono remix 1)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Jeff Jarratt (2nd Engineer)

25 September 1967

Studio Two, EMI Studios, London (7.00pm-3.00am)[32]
  • Recording
    • "The Fool on the Hill" (takes 1 – 3, tape reduction take 3 into take 4, SI onto take 4)
      • Take 4 – released on Anthology 2
  • Mono mixing
    • "The Fool on the Hill" (remix 1 from take 4)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

26 September 1967

Studio Two, EMI Studios, London (7.00pm-4.15am)[32]
  • Recording
    • "The Fool on the Hill" (tape reduction take 4 into take 5, SI onto take 5, tape reduction take 5 into take 6, SI onto take 6)
  • Personnel
    • Production Staff: N/A (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

27 September 1967

Studio One, EMI Studios, London (2.30pm-5.30pm)[33]
  • Recording
    • "I Am the Walrus" (tape reduction take 17 into takes 18–24 with SI onto takes 18–24)
Studio Two, EMI Studios, London (7.00pm-3.30am)[33]
  • Recording
    • "I Am the Walrus" (tape reduction take 20 into take 25, SI onto take 25)
    • "The Fool on the Hill" (SI onto take 6)
  • Mono mixing
    • "The Fool on the Hill" (remix 2 from take 6)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

28 September 1967

Studio Two, EMI Studios, London (4.00pm-3.00am)[33]
  • Tape copying
    • "Magical Mystery Tour" (of mono remix 7)
    • "Flying" (of mono remix 4)
  • Recording
    • "I Am the Walrus" (tape reduction of take 25 as SI onto take 17)
  • Mono mixing
    • "I Am the Walrus" (remixes 2 – 5 from take 17)
  • Editing
    • "I Am the Walrus" (of mono remix 2)
  • Recording
    • "Flying" (SI onto take 8, takes 1-5 of SI onto take 8)
  • Mono mixing
    • "Flying" (remixes 5 and 6 from take 8)
  • Editing
    • "Flying" (of mono remix 6) – released on Magical Mystery Tour (mono)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

29 September 1967

Studio Two, EMI Studios, London (7.00pm-5.00am)[34]
  • Mono mixing
    • "I Am the Walrus" (remixes 6 – 22 from take 17)
  • Editing
    • "I Am the Walrus" (of mono remixes 10 and 22 called mono remix 23) – released as the B-side to "Hello, Goodbye"; included on Magical Mystery Tour (mono)
  • Recording
    • "Your Mother Should Know" (tape reduction take 9 into takes 50 – 52, SI onto take 52)
  • Mono mixing
    • "Your Mother Should Know" (remix 20 from take 52)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Graham Kirkby (2nd Engineer)

2 October 1967

Studio Two, EMI Studios, London (10.00pm-2.30am)[34]
  • Mono mixing
    • "Your Mother Should Know" (remixes 21 – 25 from take 52) – remix 25 released on Magical Mystery Tour (mono)
  • Recording
    • "Hello, Goodbye" (takes 1 – 14, tape reduction take 14 into takes 15 and 16)
      • Take 16 – released on Anthology 2
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Graham Kirkby (2nd Engineer)

6 October 1967

Studio Two, EMI Studios, London (7.00pm-12.00am)[34]
  • Recording
    • "Blue Jay Way" (SI onto take 3)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

12 October 1967

De Lane Lea Music Recording Studio, London (2.30pm-8.00pm)[34]
  • Mono mixing
    • "It's All Too Much" (remixes 1 and 2 from take 2)
  • Personnel
    • Production Staff: George Martin (Producer), Dave Siddle (Engineer), Mike Weighell (2nd Engineer)
Studio Three, EMI Studios, London (6.30pm-2.00am)[34]
  • Mono mixing
    • "Blue Jay Way" (remixes 2 – 9 from take 3)
  • Editing
    • "Blue Jay Way" (of mono remixes 6 and 9)
  • Recording
    • "Shirley's Wild Accordion" (takes 1 – 8, tape reduction take 8 into takes 9 and 10, SI onto take 10, takes 11 – 15)
  • Mono mixing
    • "Shirley's Wild Accordion" (remixes 1, 2 and 3 from takes 10, 7 and 14 respectively)
  • Personnel
    • Production Staff: John Lennon (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

19 October 1967

Studio One, EMI Studios, London (7.00pm-3.30am)[35]
  • Recording
    • "Hello, Goodbye" (SI onto take 16, tape reduction take 16 into take 17)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)

20 October 1967

Studio Three, EMI Studios, London (7.00pm-3.45am)[35]
  • Recording
    • "The Fool on the Hill" (SI onto take 6)
    • "Hello, Goodbye" (SI onto take 17)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Phil McDonald (2nd Engineer)

25 October 1967

Studio Two, EMI Studios, London (7.00pm-3.00am)[35]
  • Mono mixing
    • "The Fool on the Hill" (remixes 10 – 12 from take 6)
  • Editing
    • "The Fool on the Hill" (of mono remix 12) – released on Magical Mystery Tour (mono)
  • Recording
    • "Hello, Goodbye" (tape reduction take 17 into takes 18 – 21, SI onto take 21)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Graham Kirkby (2nd Engineer)

1 November 1967

Room 53, EMI Studios, London (10.00am-1.00pm)[36]
  • Mono mixing
    • "All You Need Is Love" (remix 11 from take 58) – used in Yellow Submarine (film)
    • "Lucy in the Sky with Diamonds" (remix 20 from take 8) – planned to use in Yellow Submarine (film); not included.
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Richard Lush (2nd Engineer)
Studio Three (control room only, EMI Studios, London (2.30pm-6.00pm)[36]
  • Recording
    • Untitled sound effects (take 20)
    • "Hello, Goodbye" (tape reduction take 21 into takes 22 – 25)
  • Stereo mixing
    • "The Fool on the Hill" (remixes 1 – 5 from take 6)
  • Editing
    • "The Fool on the Hill" (of stereo remix 5) – released on Magical Mystery Tour (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Graham Kirkby (2nd Engineer)

2 November 1967

Studio Three (Control room only, EMI Studios, London (2.30pm-6.00pm)[36]
  • Recording
    • "Hello, Goodbye" (SI onto take 22)
  • Mono mixing
    • "Hello, Goodbye" (remixes 1-6 from take 22) – remix 6 released as a single; included on Magical Mystery Tour (mono, U. S.)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Jeff Jarratt (2nd Engineer)

6 November 1967

Studio Three (Control room only, EMI Studios, London (2.30pm-6.00pm)[36]
  • Stereo mixing
    • "Hello, Goodbye" (remixes 1 and 2 from take 22) – remix 2 released on Magical Mystery Tour (stereo, U. S.)
    • "I Am the Walrus" (remixes 1 – 7 from take 17 and from mono remix 22)
    • "Your Mother Should Know" (remixes 1 and 2 from take 52) – remix 2 released on Magical Mystery Tour (stereo)
    • "Magical Mystery Tour" (remixes 1 – 4 from take 9)
  • Editing
    • "I Am the Walrus" (of stereo remixes 6 and 7)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Ken Scott (2nd Engineer)

7 November 1967

Studio Two (control room only), EMI Studios, London (2.30pm-5.45pm)[36]
  • Stereo mixing
    • "Blue Jay Way" (remixes 1 and 2 from take 3)
    • "Flying" (remix 1 from take 8)
  • Editing
    • "Blue Jay Way" (of stereo remix 2)
    • "Flying" (of stereo remix 1) – released on Magical Mystery Tour (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Ken Scott (Engineer), Peter Mew (2nd Engineer)
Studio One, EMI Studios, London (9.00pm-4.30pm)[36]
  • Mono mixing
    • "Blue Jay Way" (remixes 20 – 28 from take 3)
  • Stereo mixing
    • "Blue Jay Way" (remixes 10 – 12 from take 3)
  • Editing
    • "Blue Jay Way" (of mono remix 27, of stereo remix 12) – mono remix 27 released on Magical Mystery Tour (mono); stereo remix 12 released on Magical Mystery Tour (stereo)
  • Stereo mixing/recording
    • "Magical Mystery Tour" (remixes 5 and 6 from stereo remix 4 with new SI) – remix 6 released on Magical Mystery Tour (stereo)
  • Mono mixing/recording
    • "Magical Mystery Tour" (remixes 8 -10 from mono remix 7 with new SI) – remix 10 released on Magical Mystery Tour (mono)
  • Tape copying
    • "I Am the Walrus" (of mono remix 23)
    • "Your Mother Should Know" (of mono remix 25)
    • "Flying" (of edit of mono remix 6 and of edit of stereo remix 1)
    • "Magical Mystery Tour" (of mono remix 10 and of stereo remix 6)
    • "Blue Jay Way" (of edit of mono remix 27 and of edit of stereo remix 12)
    • "The Fool on the Hill" (of edit of mono remix 12)
    • "Strawberry Fields Forever" (of stereo remix 3)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Graham Kirkby (2nd Engineer)

15 November 1967

Studio Two (control room only), EMI Studios, London (10.30am-11.00am)[36]
  • Mono mixing
    • "Hello, Goodbye" (remix 10 take 22)
  • Tape copying
    • "It's All Too Much" (of mono remix 1)
    • "All Together Now" (of mono remix 6)
    • "Only a Northern Song" (of mono remix 6)
  • Personnel
    • Production Staff: N/A (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

17 November 1967

Room 53, EMI Studios, London (10.00am-1.15pm)[37]
  • Stereo mixing
    • "I Am the Walrus" (remix 25 from take 17)
  • Editing
    • "I Am the Walrus" (of stereo remixes 25 and 7) – released on Magical Mystery Tour (stereo)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Ken Scott (2nd Engineer)

28 November 1967

Studio Three, EMI Studios, London (6.00pm-2.45am)[37]
  • Recording
  • Mono mixing
    • "Christmas Time (Is Here Again)" (of takes 1 [music], takes 2, 6 and 10 [speech])
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

29 November 1967

Studio One (control room only), EMI Studios, London (2.30pm-5.30pm)[37]
  • Editing
    • "Christmas Time (Is Here Again)" of unnumbered mono remixes)
  • Tape copying
    • "Christmas Time (Is Here Again)" (of master version)
  • Personnel
    • Production Staff: George Martin (Producer), Geoff Emerick (Engineer), Richard Lush (2nd Engineer)

1968

"Lady Madonna" sessions

12 January 1968

EMI Recording Studios, Bombay, India (time unknown)[38]
  • Recording
  • Personnel
    • Musicians: Ashish Khan (sarod), Mahapurush Misra (tabla, pakavaj), Sharad Jadev and Hanuman Jadev (shanhais), Shambu-Das, Indril Bhattacharya and Shankar Ghosh (sitar), Chandra Shakher (sur-bahar), Shiv Kumar Sharmar (santorr), S.R. Kenkare and Hari Prasad Chaurasia (flute), Vinayak Vohra (taar shehnai), Rijram Desad (dholak, harmonium; tala-tarang)
    • Production staff: George Harrison (producer), J.P. Sen and S.N. Gupta (engineer), unknown (2nd engineer)

3 February 1968

Studio Three, EMI Studios, London (2.30pm-1.30am)[38]

4 February 1968

Studio Three, EMI Studios, London (2.30pm-5.30pm)[39]

6 February 1968

Studio One, EMI Studios, London (2.30pm-8.00pm)[39]
  • Tape copying
    • "The Inner Light" (of take 5, numbered take 6)
  • Recording
    • "The Inner Light" (overdub onto take 6)
  • Mono mixing
    • "The Inner Light" (remix 1, from take 6)
Studio One, EMI Studios, London (9.00pm-2.00am)[39]
  • Recording
  • Mono mixing
    • "Lady Madonna" (remixes 1 and 2, from take 5)
  • Personnel
    • Musicians: John Lennon (vocals), Paul McCartney (piano, vocal), George Harrison (vocal), Harry Klein and Bill Jackson (baritone saxophone), Ronnie Scott and Bill Povey (tenor saxophone)
    • Production staff: George Martin (producer), Geoff Emerick (engineer), Jerry Boys (2nd engineer)

8 February 1968

Studio Two, EMI Studios, London (2.30pm-9.00pm)[40]
  • Recording
    • "The Inner Light" (overdub onto take 6)
  • Mono mixing
    • "The Inner Light (remixes 2–4, from take 6) – released as the B-side to "Lady Madonna"; included on Mono Masters
  • Recording
    • "Across the Universe" (overdub onto take 8)
Studio Two (control room only), EMI Studios, London (10.00pm-12.15am)[40]
  • Mono mixing
    • "Across the Universe" (remixes 1 and 2, from take 8)
  • Personnel
    • Musicians: John Lennon (mellotron, tone pedal guitar, vocals), Paul McCartney (piano, vocals), George Harrison (maracas, vocals), George Martin (organ)
    • Production staff: George Martin (producer), Geoff Emerick and Ken Scott (engineer), Richard Lush (2nd engineer)

11 February 1968

Studio Three, EMI Studios, London (4.00pm-2.00am)[40]
  • Recording
  • Mono mixing
    • "Hey Bulldog" (remixes 1 and 2, from take 10) – remix 2 used in Yellow Submarine (film); included on Mono Masters
  • Personnel
    • Musicians: John Lennon (piano, vocals), Paul McCartney (bass guitar, vocals), George Harrison (lead guitar), Ringo Starr (drums)
    • Production staff: George Martin (producer), Geoff Emerick (engineer), Phil McDonald (2nd engineer)

15 February 1968

Studio Three (control room only), EMI Studios, London (4.30pm-6.00pm)[40]
  • Mono mixing
    • "Lady Madonna" (remixes 3–10, from take 5) – released as a single; included on Mono Masters
  • Personnel
    • Production staff: George Martin (producer), Geoff Emerick (engineer), Martin Benge (2nd engineer)

The Beatles ("White Album") and "Hey Jude" single sessions

30 May 1968

Studio Two, EMI Studios, London (2.30pm-2.40am)[41]

31 May 1968

Studio Three, EMI Studios, London (2.30pm-12.00pm)[42]
  • Recording
    • "Revolution 1" (SI onto take 18, tape reduction take 18 into take 19, SI onto take 19)

4 June 1968

Studio Three, EMI Studios, London (2.30pm-1.00am)[42]
  • Recording
    • "Revolution 1" (SI onto take 19, creating tape loops takes 1 and 2, tape reduction take 19 into take 20, SI onto take 20)
  • Mono mixing
    • "Revolution 1" (unnumbered rough remix from take 20)

5 June 1968

Studio Three, EMI Studios, London (2.30pm-1.30am)[43]
  • Recording
    • "Don't Pass Me By" (takes 1–3, tape reduction take 3 into takes 4 and 5, SI onto take 5, tape reduction take 5 into take 6)
      • Takes 3 & 5 – released on Anthology 3

6 June 1968

Studio Two, EMI Studios, London (2.30pm-2.45am)[43]
  • Recording
    • "Don't Pass Me By" (SI onto take 5, tape reduction take 5 into take 7, SI onto take 7)
  • Mono mixing
    • "Don't Pass Me By" (unnumbered rough remix from take 7)
  • Recording

10 June 1968

Studio Three, EMI Studios, London (2.30pm-5.45pm)[43]
  • Recording
    • "Revolution 9" (Sound effects takes 1 -3)

11 June 1968

Studio Two, EMI Studios, London (6.30pm-12.15am)[43]
Studio Three, EMI Studios, London (7.00pm-10.15pm)[43]
  • Recording
    • "Revolution 9" (Sound effects)

20 June 1968

Studios One, Two and Three, EMI Studios, London (7.00pm-3.30am)[44]
  • Recording
    • "Revolution 9" (Sound effects takes 1 and 2, compilation of master version with SI)

21 June 1968

Studio Two, EMI Studios, London (2.30pm-3.30am)[44]
  • Recording
    • "Revolution 1" (SI onto take 20, tape reduction take 20 into take 21 and 22, SI onto take 22)
    • "Revolution 9" (SI onto master version)
  • Stereo Mixing
    • "Revolution 1" (Remixes 1–7, from take 22)
    • "Revolution 9" (Remixes 1 and 2, from master version)

25 June 1968

Studio Two (control room only), EMI Studios, London, (2.00pm-8.00pm)[45]
  • Stereo Mixing
    • "Revolution 1" (Remixes 8–12 from take 22) – remix 12 released on The Beatles (stereo)
  • Editing
    • "Revolution 9" (of remix stereo 2) – released on The Beatles (stereo)
  • Tape copying
    • "Revolution 1" (of remix stereo 12)
    • "Revolution 9" (of edit of remix stereo 2)

26 June 1968

Studio Two, EMI Studios, London (7.00pm-3.30am)[45]

27 June 1968

Studio Two, EMI Studios, London (5.00pm-3.45am)[45]
  • Recording
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (takes 1 – 6, tape reduction take 6 into takes 7 and 8, SI onto take 8)

28 June 1968

Studio Two, EMI Studios, London (7.00pm-4.30am)[45]

1 July 1968

Studio Two, EMI Studios, London (5.00pm-3.00am)[45]
  • Recording
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (SI onto take 8, tape reduction take 8 into takes 9 and 10, SI onto take 10)

2 July 1968

Studio Two, EMI Studios, London (6.00pm-12.15am)[46]
  • Recording
    • "Good Night" (SI onto take 5, takes 6 – 15)

3 July 1968

Studio Two, EMI Studios, London (8.00pm-3.15am)[46]

4 July 1968

Studio Two, EMI Studios, London (7.00pm-2.15am)[46]
  • Recording
    • "Ob-La-Di, Ob-La-Da" (SI onto take 4, tape reduction take 4 into take 5, SI onto take 5)

5 July 1968

Studio Two, EMI Studios, London (5.00pm-1.30am)[46]
  • Recording
    • "Ob-La-Di, Ob-La-Da" (SI onto take 5)

8 July 1968

Studio Two, EMI Studios, London (5.00pm-3.00am)[47]
  • Recording
    • "Ob-La-Di, Ob-La-Da" (Remake, takes 1 – 12, tape reduction take 12 into take 13, SI onto take 13)
  • Mono mixing
    • "Ob-La-Di, Ob-La-Da" (unnumbered rough remix from take 13)

9 July 1968

Studio Three, EMI Studios, London (4.00pm-9.00pm)[47]

10 July 1968

Studio Three, EMI Studios, London (7.00pm-1.30am)[48]

11 July 1968

Studio Three, EMI Studios, London (4.00pm-3.45am)[48]
  • Recording
    • "Revolution" (SI onto take 15)
    • "Ob-La-Di, Ob-La-Da" (SI onto take 22)
    • "Revolution" (tape reduction take 15 into take 16, SI onto take 16)
    • "Ob-La-Di, Ob-La-Da" (tape reduction take 22 into takes 23 and 24, SI onto take 23)
  • Mono mixing
    • "Ob-La-Di, Ob-La-Da" (remixes 1 and 2 from take 23)

12 July 1968

Studio Two, EMI Studios, London (3.00pm-4.00am)[48]
  • Recording
    • "Don't Pass Me By" (SI onto take 7)
  • Mono mixing
    • "Don't Pass Me By" (remixes 1 – 4 from take 7)
    • "Ob-La-Di, Ob-La-Da" (remixes 10 and 11 from take 23)
  • Recording
    • "Revolution" (SI onto take 16)
  • Mono mixing
    • "Revolution" (remixes 10 – 13 from take 16)

15 July 1968

Studio Two, EMI Studios, London (3.30pm-3.00am)[49]
  • Mono mixing
    • "Revolution" (remixes 20 and 21 from take 16) – remix 21 (numbered 5) released as the B-side to "Hey Jude"; included on Mono Masters
  • Recording
    • "Ob-La-Di, Ob-La-Da" (SI onto take 23)
  • Mono mixing
    • "Ob-La-Di, Ob-La-Da" (remixes 12 – 21 from take 23)
  • Recording

16 July 1968

Studio Two, EMI Studios, London (4.00pm-2.00am)[49]
  • Recording
    • "Cry Baby Cry" (takes 1 -10, tape reduction take 10 into takes 11 and 12, SI onto take 12)

18 July 1968

Studio Two, EMI Studios, London (2.30pm-3.30am)[49]

19 July 1968

Studio Two, EMI Studios, London (7.30pm-4.00am)[50]

22 July 1968

Studio One, EMI Studios, London (7.00pm-1.40am)[50]

23 July 1968

Studio Two, EMI Studios, London (7.00pm-2.30am)[50]
  • Recording
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (SI onto take 10, tape reduction take 10 into takes 11 and 12, SI onto take 12)
  • Mono mixing
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (remixes 1 – 5 from take 12)
    • "Good Night" (remixes 1 – 6 from take 34)

24 July 1968

Studio Two, EMI Studios, London (7.00pm-2.30am)[51]
  • Recording
    • "Sexy Sadie" (Remake, takes 25 – 47)
    • "Sound Effects"

25 July 1968

Studio Two, EMI Studios, London (7.00pm-3.15am)[51]

29 July 1968

Studio Two, EMI Studios, London (8.30pm-4.00am)[51]

30 July 1968

Studio Two, EMI Studios, London (7.30pm-3.30am)[51]

31 July 1968

Trident Studios, Trident House, London (2.00pm-4.00am)[52]
  • Recording
    • "Hey Jude" (Remake takes 1 – 4, SI onto take 1)

1 August 1968

Trident Studios, Trident House, London (5.00pm-3.00am)[52]
  • Recording
    • "Hey Jude" (SI onto take 1)

2 August 1968

Trident Studios, Trident House, London (2.00pm-1.30am)[53]
  • Stereo mixing
    • "Hey Jude" (remixes 1 – 3 from take 1)

6 August 1968

Trident Studios, Trident House, London (5.30pm-7.30pm)[53]
  • Mono mixing
    • "Hey Jude" (remix 1 from remix stereo 3)

7 August 1968

Studio Two, EMI Studios, London, (3.00pm-5.30am)[53]
  • Tape copying
    • "Hey Jude" (of remix mono 1)
  • Recording

8 August 1968

Studio Two, EMI Studios, London, (6.40pm-6.30am)[53]
  • Mono mixing
    • "Hey Jude" (remixes 2 – 4 from take 1) – remix 4 (numbered 5) released as a single; included on Mono Masters
  • Recording
    • "Not Guilty" (takes 47 – 101)
  • Tape copying
    • "Hey Jude" (of remix mono 4, numbered 5)
    • "Revolution" (of remix mono 21, numbered 5)

9 August 1968

Studio Two, EMI Studios, London, (7.30pm-2.00am)[53]

12 August 1968

Studio Two, EMI Studios, London, (7.00pm-4.15am)[54]
  • Recording
    • "Not Guilty" (SI onto take 102)
  • Mono mixing
    • "Not Guilty" (remix 1 from take 102)

13 August 1968

Studio Two, EMI Studios, London, (7.00pm-5.30am)[54]
  • Recording
    • "Sexy Sadie" (Re-remake takes 100 – 107, tape reduction take 107 into takes 108 – 111)
    • "Yer Blues" (takes 1 – 14, tape reduction take 6 into takes 15 and 16, tape reduction extract of take 14 into take 17)
  • Editing
    • "Yer Blues" (of takes 16 and 17)

14 August 1968

Studio Two, EMI Studios, London, (7.00pm-4.30am)[54]
  • Recording
    • "Yer Blues" (SI onto edit of takes 16 and 17)
  • Mono mixing
    • "Yer Blues" (remix 1 – 4 from edit of takes 16 and 17)
  • Recording
  • Mono mixing
    • "What's the New Mary Jane" (remix 1 from take 4)
  • Tape copying
    • "Yer Blues" (of remix mono 3)
    • "What's the New Mary Jane" (of remix mono 1)

15 August 1968

Studio Two, EMI Studios, London, (7.00pm-3.00am)[55]
  • Recording
  • Mono mixing
    • "Rocky Raccoon" (remix 1 from take 10) – released on The Beatles (mono)
  • Tape copying
    • "Yer Blues" (of remix mono 3)
    • "Rocky Raccoon" (of remix mono 1)

16 August 1968

Studio Two, EMI Studios, London, (7.00pm-5.00am)[55]
  • Recording
    • "While My Guitar Gently Weeps" (Remake, takes 1 – 14, tape reduction take 14 into take 15)

20 August 1968

Studio Three, EMI Studios, London, (5.00pm-5.30pm)[56]
  • Recording
    • "Yer Blues" (edit piece take 1)
  • Editing
    • "Yer Blues" (of remix mono 3 and edit piece take 1) – released on The Beatles (mono)
  • Mono tape copying
    • "Revolution 9" (mono copy 1, from edit of remix stereo 2)
Studio Two, EMI Studios, London, (8.00pm-4.00am)[56]
  • Recording
    • "Mother Nature's Son" (SI onto take 24, tape reduction take 24 into take 26, SI onto take 26)
    • "Etcetera" (take 1)
    • "Wild Honey Pie" (take 1)
  • Mono mixing
    • "Mother Nature's Son" (remixes 1 – 8 from take 26)
    • "Wild Honey Pie" (remixes 1 – 6 from take 1) – remix 6 released on The Beatles (mono)

21 August 1968

Studio Two, EMI Studios, London, (7.30pm-7.15am)[56]
  • Recording
    • "Sexy Sadie" (tape reduction take 107 into take 112, SI onto take 112, tape reduction take 112 into takes 113–115, SI onto take 115, tape reduction take 115 into take 116 and 117, SI onto take 117)
  • Mono mixing
    • "Sexy Sadie" (remixes 1 – 5 from take 117) – remix 5 released on The Beatles (mono)

22 August 1968

Studio Two, EMI Studios, London, (7.00pm-4.45am)[57]

23 August 1968

Studio Two, EMI Studios, London, (7.00pm-3.00am)[57]
  • Recording
    • "Back in the USSR" (SI onto take 5, tape reduction take 5 into take 6, SI onto take 6)
  • Mono mixing
    • "Back in the USSR" (remix 1 – 8 from take 6) – remix 1 released on The Beatles (mono)
  • Tape copying
    • "Back in the USSR" (of remix mono 1)
    • "Rocky Raccoon" (of remix mono 1)
    • "Wild Honey Pie" (of remix mono 6)
    • "Mother Nature's Son" (of remix mono 8)
    • "Sexy Sadie" (of remix mono 5)

26 August 1968

Studio Two (control room only), EMI Studios, London, (4.00pm-5.00pm)[57]
  • Mono tape copying
    • "Revolution 9" (mono copy 2, from edit of remix stereo 2)

27 August 1968

Studio Two (control room only), EMI Studios, London, (4.00pm-5.00pm)[57]
  • Tape copying
    • "Ob-La-Di, Ob-La-Da" (of remix mono 21)
    • "Blackbird" (of remix mono 6)
    • "Not Guilty" (of remix mono 1)
    • "Revolution 9" (of edit of remix stereo 2)

28 August 1968

Trident Studios, Trident House, London (5.00pm-7.00am)[58]

29 August 1968

Trident Studios, Trident House, London (7.00pm-6.00am)[58]
  • Recording
    • "Dear Prudence" (SI onto take 1)

30 August 1968

Trident Studios, Trident House, London (7.00pm-6.00am)[58]
  • Recording
    • "Dear Prudence" (SI onto take 1)

3 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.30am)[59]
  • Tape copying
    • "While My Guitar Gently Weeps" (take 15 into take 16)
  • Recording
    • "While My Guitar Gently Weeps" (SI onto take 16)
  • Tape copying
    • "Revolution" (of take 16, rhythm track only)

5 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.45am)[59]

6 September 1968

Studio Two, EMI Studios, London, (7.00pm-2.00am)[60]
  • Recording
    • "While My Guitar Gently Weeps" (SI onto take 25)

9 September 1968

Studio Two, EMI Studios, London, (7.00pm-2.30am)[60]

10 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.00am)[60]
  • Recording
    • "Helter Skelter" (SI onto take 21)

11 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.30am)[61]

12 September 1968

Studio Two, EMI Studios, London, (8.30pm-1.30am)[61]
  • Recording
    • "Glass Onion" (SI onto take 33)

13 September 1968

Studio Two, EMI Studios, London, (8.00pm-1.45am)[61]
  • Recording
    • "Glass Onion" (SI onto take 33)

16 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.00am)[61]

17 September 1968

Studio Two, EMI Studios, London, (7.00pm-5.00am)[61]
  • Mono mixing
    • "Helter Skelter" (remix 1 from take 21) – released on The Beatles (mono)
  • Recording
    • "I Will" (SI onto take 68)
  • Tape copying
    • "Cry Baby Cry" (take 12 into take 13)

18 September 1968

Studio Two, EMI Studios, London, (5.00pm-4.30am)[62]
  • Recording
  • Tape copying
    • ""Birthday" (take 20 into takes 21 and 22)
  • Recording
    • "Birthday" (SI onto take 22)
  • Mono mixing
    • "Birthday" (remix 1 from take 22) – released on The Beatles (mono)

19 September 1968

Studios One and Two, EMI Studios, London, (7.15pm-5.30am)[62]
  • Recording

20 September 1968

Studio Two, EMI Studios, London, (7.00pm-11.00pm)[63]

23 September 1968

Studio Two, EMI Studios, London, (7.00pm-3.00am)[63]

24 September 1968

Studio Two, EMI Studios, London, (7.00pm-2.00am)[63]
  • Recording
    • "Happiness Is a Warm Gun" (takes 46 – 70)

25 September 1968

Studio Two, EMI Studios, London, (7.30pm-6.15am)[63]
  • Editing
    • "Happiness Is a Warm Gun" (of takes 53 and 65, called take 65)
  • Recording
    • "Happiness Is a Warm Gun" (SI onto take 65)
  • Mono mixing
    • "Happiness Is a Warm Gun" (remixes 1 and 2 from take 65)

26 September 1968

Studio Two (Control room only), EMI Studios, London, (7.00pm-1.30am)[64]
  • Mono mixing
    • "Happiness Is a Warm Gun" (remixes 3 – 12 from take 65) – remix 12 released on The Beatles (mono)
    • "What's the New Mary Jane" (remixes 1 and 2 from take 4)
    • "Glass Onion" (remixes 1 and 2 from take 33)
    • "I Will" (remixes 1 and 2 from take 68) – remix 2 released on The Beatles (mono)
  • Recording
    • "Glass Onion" (Sound effects)

1 October 1968

Trident Studios, Trident House, London (time unknown)[64]
  • Recording
  • Mono mixing
    • "Honey Pie" (unnumbered rough remix from take 1)

2 October 1968

Trident Studios, Trident House, London (4.00pm-3.30am)[64]
  • Recording
    • "Honey Pie" (SI onto take 1)

3 October 1968

Trident Studios, Trident House, London (time unknown)[64]

4 October 1968

Trident Studios, Trident House, London (4.00pm-4.30am)[65]
  • Recording
    • "Martha My Dear" (take 1)
    • "Honey Pie" (SI onto take 1)
    • "Martha My Dear" (SI onto take 1)

5 October 1968

Trident Studios, Trident House, London (6.00pm-1.00am)[65]
  • Recording
    • "Savoy Truffle" (SI onto take 1)
    • "Martha My Dear" (SI onto take 1)
  • Mono mixing
    • "Honey Pie" (remix 1 from take 1) – released on The Beatles (mono)
    • "Martha My Dear" (remix 1 from take 1) – released on The Beatles (mono)
    • "Dear Prudence" (remix 1 from take 1)
  • Stereo mixing
    • "Honey Pie" (remix 1 from take 1) – released on The Beatles (stereo)
    • "Martha My Dear" (remix 1 from take 1) – released on The Beatles (stereo)

7 October 1968

Studio Two, EMI Studios, London, (2.30pm-7.00am)[65]
  • Tape copying
    • "Honey Pie" (of remix mono 1 and remix stereo 1)
    • "Martha My Dear" (of remix mono 1 and of remix stereo 1)
  • Stereo mixing
    • "While My Guitar Gently Weeps" (remix 1 from take 25)
  • Mono mixing
    • "While My Guitar Gently Weeps" (remixes 1 and 2 from take 25)
  • Recording

8 October 1968

Studio Two, EMI Studios, London, (4.00pm-8.00am)[66]

9 October 1968

Studio Two, EMI Studios, London, (7.00pm-5.30am)[66]
  • Stereo mixing
    • "The Continuing Story of Bungalow Bill" (remixes 1 and 2 from take 3) – remix 2 released on The Beatles (stereo)
  • Mono mixing
    • "The Continuing Story of Bungalow Bill" (remix 1 from take 3) – released on The Beatles (mono)
  • Recording
    • "Long Long Long" (SI onto take 67)
  • Tape copying
    • "Helter Skelter" (of take 3)
Studio One, EMI Studios, London, (time unknown)[66]

10 October 1968

Studio Two, EMI Studios, London, (7.00pm-7.15am)[67]
  • Recording
    • "Piggies" (SI onto take 12)
    • "Glass Onion" (SI onto take 33)
  • Stereo mixing
    • "Glass Onion" (remixes 1 and 2 from take 33) – remix 2 released on The Beatles (stereo)
    • "Rocky Raccoon" (remix 1 from take 10) – released on The Beatles (stereo)
    • "Long Long Long" (remixes 1 – 4 from take 67) – remix 4 released on The Beatles (stereo)
  • Mono mixing
    • "Glass Onion" (remixes 10 and 11 from take 33) – remix 11 released on The Beatles (mono)
Studio Three, EMI Studios, London, (time unknown)[67]
  • Recording
    • "Why Don't We to Do It in the Road" (SI onto take 5, tape reduction take 5 into take 6, SI onto take 6)

11 October 1968

Studio Two, EMI Studios, London, (3.00pm-6.00pm)[67]
  • Recording
    • "Savoy Truffle" (SI onto take 1)
Studio Two (control room only), EMI Studios, London, (6.00pm-12.00pm)[67]
  • Mono mixing
    • "Piggies" (remixes 1 – 4 from take 12) – remix 4 released on The Beatles (mono)
    • "Don't Pass Me By" (remix 1 from take 7 and edit of edit piece 4) – released on The Beatles (mono)
    • "Good Night" (remixes 1 and 2 from take 34) – remix 2 released on The Beatles (mono)
  • Stereo mixing
    • "Piggies" (remixes 1 – 3 from take 12) – remix 3 released on The Beatles (stereo)
    • "Don't Pass Me By" (remix 1 from take 7 and edit of edit piece 4) – released on The Beatles (stereo)
    • "Good Night" (remix 1 from take 34) – released on The Beatles (stereo)

12 October 1968

Studio Two (control room only), EMI Studios, London, (7.00pm-5.45am)[67]
  • Stereo mixing
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (remix 1 from take 12) – released on The Beatles (stereo)
    • "Helter Skelter" (remixes 1 – 5 from take 21) – remix 5 released on The Beatles (stereo)
    • "Mother Nature's Son" (remixes 1 and 2 from take 26) – remix 2 released on The Beatles (stereo)
    • "Ob-La-Di, Ob-La-Da" (remixes 1 – 4 from take 23) – remix 4 released on The Beatles (stereo)
  • Mono mixing
    • "Everybody's Got Something to Hide Except for Me And My Monkey" (remix 1 from take 12) – released on The Beatles (mono)
    • "Mother Nature's Son" (remixes 1 and 2 from take 26) – remix 2 released on The Beatles (mono)
    • "Ob-La-Di, Ob-La-Da" (remix 10 from take 23) – released on The Beatles (mono)
    • "Long Long Long" (remix 1 from take 67)

13 October 1968

Studio Two, EMI Studios, London, (7.00pm-6.00am)[67]
  • Recording
  • Stereo mixing
    • "Julia" (remix 1 from take 3) – released on The Beatles (stereo)
    • "Dear Prudence" (remix 1 from take 1) – released on The Beatles (stereo)
    • "Wild Honey Pie" (remixes 1 and 2 from take 1) – remix 2 released on The Beatles (stereo)
    • "Back in the USSR" (remix 1 from take 6) – released on The Beatles (stereo)
    • "Blackbird" (remix 1 from take 32) – released on The Beatles (stereo)
  • Mono mixing
    • "Julia" (remix 1 from take 3) – released on The Beatles (mono)
    • "Dear Prudence" (remixes 1 – 5 from take 1) – remix 5 released on The Beatles (mono)
    • "Blackbird" (remix 10 from take 32) – released on The Beatles (mono)

14 October 1968

Studio Two, EMI Studios, London, (7.00pm-7.30am)[68]
  • Recording
    • "Savoy Truffle" (SI onto take 1)
  • Stereo mixing
    • "I Will" (remix 1 from take 68) – released on The Beatles (stereo)
    • "Birthday" (remix 1 from take 22) – released on The Beatles (stereo)
    • "Savoy Truffle" (remixes 1 and 2 from take 1) – remix 1 or 2 released on The Beatles (stereo)
    • "While My Guitar Gently Weeps" (remixes 10 – 12 from take 25) – released on The Beatles (stereo)
    • "Yer Blues" (remixes 1 – 5 from take 16 and 17 and edit piece 1) – remix 3 released on The Beatles (stereo)
    • "Sexy Sadie" (remixes 1 – 3 from take 117) – released on The Beatles (stereo)
    • "What's the New Mary Jane" (remixes 1 and 2 from take 4)
  • Mono mixing
    • "Savoy Truffle" (remixes 1 – 6 from take 1) – released on The Beatles (mono)
    • "While My Guitar Gently Weeps" (remixes 10 and 11 from take 25) – remix 10 or 11 released on The Beatles (mono)
    • "Long Long Long" (remixes 2 and 3 from take 67) – remix 2 or 3 released on The Beatles (mono)

15 October 1968

Studio Two, EMI Studios, London, (6.00pm-8.00pm)[68]
  • Stereo mixing
    • "Happiness Is a Warm Gun" (remixes 1 – 4 from take 65) – released on The Beatles (stereo)
    • "I'm So Tired" (remixes 1 – 5 from take 14) – released on The Beatles (stereo)
    • "Cry Baby Cry" (remixes 1 – 3 from take 12) – released on The Beatles (stereo)
  • Mono mixing
    • "I'm So Tired" (remixes 1 – 3 from take 14) – released on The Beatles (mono)
    • "Cry Baby Cry" (remix 1 from take 12) – released on The Beatles (mono)

16 and 17 October 1968

Studios One, Two and Three and rooms 41 and 42, EMI Studios, London, (5.00pm-5.00pm)[68]
  • Mono mixing
    • "Crossfades and edits for LP
    • "Why Don't We Do It in the Road" (remix 1 from take 6) – released on The Beatles (mono)
  • Stereo mixing
    • "Crossfades and edits for LP
    • "Why Don't We Do It in the Road" (remix 1 from take 6) – released on The Beatles (stereo)
Studios Two (Control room only), EMI Studios, London, (time unknown)[68]
  • Tape copying
    • "It's All Too Much" (of take 2, called take 196)
  • Mono mixing
  • Stereo mixing
    • "It's All Too Much" (remix 1 from take 196) – released on Yellow Submarine (stereo)

18 October 1968

Studios One (Control room only), EMI Studios, London, (12.00pm-1.00pm)[69]
  • Tape copying
    • "Yer Blues" (of edit of remix mono 3 and edit piece take 1)
    • "Don't Pass Me By" (of remix mono 1)

Yellow Submarine session

29 October 1968

Studio Three (control room only), EMI Studios, London (10.00am-1.00pm)[69]
  • Stereo mixing
    • "Hey Bulldog" (remixes 1–3, from take 10) – released on Yellow Submarine (stereo)
    • "All Together Now" (remix 1, from take 9) – released on Yellow Submarine (stereo)
    • "All You Need Is Love" (remixes 1–6, from take 58) – released on Yellow Submarine (stereo); included on Magical Mystery Tour (stereo)
    • "Only a Northern Song" (remix 1, from remix mono 6) – released on Yellow Submarine (stereo)
  • Personnel
    • Production staff: Geoff Emerick (engineer), Graham Kirkby (2nd engineer)

1969

Get Back album sessions

[70] There are no take numbers since they were not formal studio recording sessions, but rehearsals filmed for Let It Be. Some of the songs were released on later Beatles or solo records.

Songs (arranged by artist):

Numerous improvisations were also recorded during these sessions.

Medleys

[70]

  • "Little Demon" (Screamin' Jay Hawkins)/"Maybellene" (Berry)/"You Can't Catch Me" (Berry)/"Brown-Eyed Handsome Man" (Berry)
    • Recorded 24 January 1969, at 3 Savile Row.
  • "Blue Suede Shoes" (Perkins)/"You Really Got a Hold on Me" (Robinson)
    • Recorded 26 January 1969 at 3 Savile Row.
  • "Rip It Up" (Blackwell-Marascalco)/"Shake, Rattle, And Roll" (Calhoun)
    • Recorded 26 January 1969 at 3 Savile Row. Although Anthology 3 places this medley and the above together, they were recorded separately, but on the same day.
  • "Cannonball"/"Not Fade Away" (Hardin-Petty)/"Hey Little Girl"/"Bo Diddley" (McDaniel)
    • Recorded 29 January 1969 at 3 Savile Row.
  • "Take This Hammer" (Traditional)/"Long Lost John" (Traditional)/"Black Dog Blues" (also known as "Daddy, Where You Been So Long?")/"The Right String (But the Wrong Yo-Yo)" (Speckled Red)/"Run for Your Life"
    • Recorded at 3 Savile Row.
  • "Kansas City" (Leiber-Stoller)/"Miss Ann" (Penniman-Johnson)/"Lawdy Miss Clawdy" (Price)
    • Recorded 26 January 1969, at 3 Savile Row.
  • "All Shook Up" (Blackwell-Presley)/"Your True Love"/"Blue Suede Shoes" (Perkins)
    • Recorded 3 January 1969, at Twickenham Film Studios..
  • "Ramblin' Woman"/"I Threw It All Away" (Dylan)/"Mama, You Been on My Mind" (Dylan)
    • Recorded 9 January 1969, at Twickenham Film Studios.
  • "Sausages and French Fries" (Lennon–McCartney–Harrison–Starr)/"Early in the Morning"/"Honey Hush" (Turner)
    • Recorded 8 January 1969 at Twickenham Film Studios.
  • "I've Got a Feeling"/"Help!"/"Please Please Me"
    • Recorded 23 January 1969, at 3 Savile Row.
  • "I'm Ready" (Domino; also known as "Rocker")/"Save the Last Dance for Me" (Pomus-Shuman)/"Don't Let Me Down"
    • Recorded at 3 Savile Row.

Abbey Road and "The Ballad of John And Yoko" single sessions

22 February 1969

Trident Studios, Trident House, London (time unknown)[71]
  • Recording
  • Production Staff: Glyn Johns (Producer), Barry Sheffield (Engineer), unknown (2nd Engineer)

23 February 1969

Trident Studios, Trident House, London (time unknown)[71]
  • Editing
    • "I Want You (She's So Heavy)" (unnumbered master from takes 9, 20 and 32)
  • Production Staff: Glyn Johns (Producer), Barry Sheffield (Engineer), unknown (2nd Engineer)

24 February 1969

Trident Studios, Trident House, London (time unknown)[71]
  • Tape copying
    • "I Want You (She's So Heavy)" (of unnumbered master)
  • Production Staff: N/A (Producer), Barry Sheffield (Engineer), unknown (2nd Engineer)

25 February 1969

Studio unknown, EMI Studios, London (time unknown)[72]

14 April 1969

Studio Three, EMI Studios, London, (2.30pm-11.00pm)[73]

16 April 1969

Studio Three, EMI Studios, London, (2.30pm-5.00pm)[73]
  • Recording
    • "Old Brown Shoe" (demo, take 1)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Richard Lush (2nd Engineer)
Studio Three, EMI Studios, London, (7.00pm-2.45am)[73]
  • Recording
  • Stereo Mixing
    • "Old Brown Shoe" (remixes 1 – 3 from take 4)
  • Production Staff: George Martin (Producer), Jeff Jarratt (Engineer), Richard Lush (2nd Engineer)

18 April 1969

Studio Three, EMI Studios, London, (2.30pm-1.00am)[73]
  • Recording
    • "Old Brown Shoe" (SI onto take 4)
  • Stereo Mixing
    • "Old Brown Shoe" (remixes 5 – 23 from take 4) – released as the B-side to "The Ballad of John and Yoko"; included on Past Masters
Studio Two, EMI Studios, London, (1.00am-4.30am)[73]
  • Recording
    • "I Want You (She's So Heavy)" (SI onto unnumbered master, reduction of unnumbered master called take 1, SI onto take 1)
  • Stereo Mixing
    • "I Want You (She's So Heavy)" (unnumbered rough mix from take 1)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), John Kurlander (2nd Engineer)

20 April 1969

Studio Three, EMI Studios, London, (7.00pm-12.45am)[74]
  • Recording
  • Stereo Mixing
    • "Oh! Darling" (remix 1 from take 26)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), John Kurlander (2nd Engineer)

26 April 1969

Studio Two, EMI Studios, London, (4.30pm-4.15am)[74]

29 April 1969

Studio Three, EMI Studios, London, (7.30pm-1.00am)[74]
  • Recording
    • "Octopus's Garden" (SI onto take 32)
  • Stereo Mixing
    • "Octopus's Garden" (remixes 1 – 4 from take 32)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), Nick Webb (2nd Engineer)

1 May 1969

Studio Three (control room only), EMI Studios, London, (2.30pm-7.00pm)[75]
  • Stereo Mixing
    • "Oh! Darling" (remixes 2 – 4 from take 26)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), Nick Webb (2nd Engineer)

2 May 1969

Studio Three, EMI Studios, London, (7.00pm-3.40am)[75]
  • Recording
    • "Something" (re-make, takes 1 – 36)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), Nick Webb (2nd Engineer)

5 May 1969

Studio One, Olympic Sound Studios, London (7.30pm-4.00am)[76]
  • Recording
    • "Something" (SI onto take 36)
  • Production Staff: George Martin (Producer), Glyn Johns (Engineer), Steve Vaughan (2nd Engineer)

6 May 1969

Studio One, Olympic Sound Studios, London (3.00pm-4.00am)[76]

1 July 1969

Studio Two, EMI Studios, London (3.00pm-7.30pm)[77]
  • Recording
    • "You Never Give Me Your Money" (SI onto take 30)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Chris Blair (2nd Engineer)

2 July 1969

Studio Two, EMI Studios, London (3.00pm-9.30pm)[78]

3 July 1969

Studio Two, EMI Studios, London (3.00pm-8.30pm)[78]
  • Editing
    • "Golden Slumbers/Carry That Weight" (of takes 13 and 15 called take 13)
  • Recording
    • "Golden Slumbers/Carry That Weight" (SI onto take 13, tape reduction take 13 into takes 16 and 17)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Chris Blair (2nd Engineer)

4 July 1969

Studio Two, EMI Studios, London (2.45pm-5.30pm)[78]
  • Recording
    • "Golden Slumbers/Carry That Weight" (SI onto take 17)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Chris Blair (2nd Engineer)

7 July 1969

Studio Two, EMI Studios, London (2.30pm-11.45pm)[78]

8 July 1969

Studio Two, EMI Studios, London (2.30pm-11.15pm)[79]
  • Recording
    • "Here Comes the Sun" (SI onto take 13, tape reduction take 13 into takes 14 and 15)
  • Mono Mixing
    • "Here Comes the Sun" (unnumbered rough remix from take 15)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), John Kurlander (2nd Engineer)

9 July 1969

Studio Two, EMI Studios, London (2.30pm-10.15pm)[79]

10 July 1969

Studio Two, EMI Studios, London (2.30pm-11.30pm)[79]
  • Recording
    • "Maxwell's Silver Hammer" (SI onto take 21)
  • Stereo Mixing
    • "Maxwell's Silver Hammer" (remixes 1 – 13 from take 21)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), John Kurlander (2nd Engineer)

11 July 1969

Studio Two, EMI Studios, London (2.30pm-12.00pm)[80]
  • Recording
    • "Maxwell's Silver Hammer" (SI onto take 21)
    • "Something" (SI onto take 36)
  • Stereo Mixing
    • "Something" (remixes 1 – 4 from take 36)
  • Recording
    • "Something" (tape reduction take 36 into take 37)
    • "You Never Give Me Your Money" (SI onto take 30)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), John Kurlander (2nd Engineer)

15 July 1969

Studio Three, EMI Studios, London (2.30pm-6.00pm)[80]
  • Recording
    • "You Never Give Me Your Money" (SI onto take 30)
Studio Two (control room only), EMI Studios, London (6.00pm-11.00pm)[80]
  • Stereo Mixing
    • "You Never Give Me Your Money" (remixes 1 – 6 from take 30)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

16 July 1969

Studio Three, EMI Studios, London (2.30pm-7.00pm)[80]
  • Recording
    • "Here Comes the Sun" (SI onto take 15)
Studio Two, EMI Studios, London (7.00pm-12.30am)[80]
  • Recording
    • "Something" (SI onto take 36, tape reduction take 36 into takes 38 and 39)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

17 July 1969

Studio Three, EMI Studios, London (2.30pm-6.30pm)[80]
  • Recording
    • "Oh! Darling" (SI onto take 16)
Studio Two, EMI Studios, London (6.30pm-11.15pm)[80]
  • Recording
    • "Octopus's Garden" (SI onto take 32)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

18 July 1969

Studio Three, EMI Studios, London (2.30pm-8.00pm)[81]
  • Recording
    • "Oh! Darling" (SI onto take 26)
    • "Octopus's Garden" (SI onto take 32)
Studio Two (control room only), EMI Studios, London (8.30pm-10.30pm)[81]
  • Mono mixing
    • "Octopus's Garden" (remixes 1 – 7 from take 32)
  • Stereo mixing
    • "Octopus's Garden" (remixes 10 – 14 from take 32) – released on Abbey Road
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

21 July 1969

Studio Three, EMI Studios, London (2.30pm-9.30pm)[81]
Studio Two (control room only), EMI Studios, London (9.30pm-10.00pm)[81]
  • Tape copying
    • "Come Together" (of take 6 called take 9)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

22 July 1969

Studio Three, EMI Studios, London (2.30pm-9.30pm)[81]
  • Recording
    • "Oh! Darling" (SI onto take 26)
    • "Come Together" (SI onto take 9)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

23 July 1969

Studio Three, EMI Studios, London (2.30pm-11.30pm)[81]
  • Recording
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

24 July 1969

Studio Two, EMI Studios, London (2.30pm-10.30pm)[82]

25 July 1969

Studio Two, EMI Studios, London (2.30pm-2.30am)[82]

28 July 1969

Studio Three, EMI Studios, London (2.30pm-8.30pm)[82]
  • Recording
    • "Polythene Pam/She Came in Through the Bathroom Window (SI onto take 39)
Studio Two (control room only), EMI Studios, London (8.00pm-8.30pm)[82]
  • Recording
    • "Polythene Pam/She Came in Through the Bathroom Window (tape reduction take 39 into take 40)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

29 July 1969

Studio Three, EMI Studios, London (2.30pm-10.45pm)[82]
  • Recording
    • "Come Together" (SI onto take 9)
    • "Sun King/Mean Mr. Mustard" (SI onto take 35)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

30 July 1969

Studio Two (control room only), EMI Studios, London (2.00pm-2.30am)[83]
  • Recording
    • "You Never Give Me Your Money" (tape reduction take 30 into takes 37 – 42)
    • "Come Together" (SI onto take 9)
    • "Polythene Pam/She Came in Through the Bathroom Window (SI onto take 40)
    • "You Never Give Me Your Money" (SI onto take 40)
    • "Golden Slumbers/Carry That Weight" (SI onto take 17)
  • Stereo Mixing
    • "You Never Give Me Your Money" (remix 1 from take 40)
    • "Sun King/Mean Mr. Mustard" (remix 1 from take 35)
    • "Her Majesty" (remix 1 from take 3)
    • "Polythene Pam/She Came in Through the Bathroom Window (remix 1 from take 40)
    • "Golden Slumbers/Carry That Weight" (remix 1 from take 17)
    • "The End" (remix 1 from take 7)
    • Editing, crossfading and tape compilation Abbey Road Medley
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

31 July 1969

Studio Two, EMI Studios, London (2.30pm-1.15am)[84]
  • Recording
    • "You Never Give Me Your Money" (SI onto 30)
    • "Golden Slumbers/Carry That Weight" (SI onto take 17)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

1 August 1969

Studio Two, EMI Studios, London (2.30pm-10.30pm)[84]

4 August 1969

Studio Two, EMI Studios, London (2.30pm-9.00pm)[84]
  • Recording
    • "Because (SI onto take 16)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)
Studio Three (control room only), EMI Studios, London (7.15pm-8.45pm)[84]
  • Stereo Mixing
    • "Something" (unnumbered rough mix from take 39)
    • "Here Comes the Sun" (unnumbered rough mix from take 15)
  • Production Staff: George Harrison (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

5 August 1969

Studio Three (control room only), EMI Studios, London (2.30pm-6.30pm)[85]
  • Recording
    • "You Never Give Me Your Money" (sound effects takes 1 – 5)
Room 43 and Studio Two, EMI Studios, London (6.30pm-10.45pm)[85]
  • Recording
    • "Because (SI onto take 16)
    • "The End" (SI onto take 7)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

6 August 1969

Studio Three, EMI Studios, London (2.30pm-11.00pm)[85]
  • Recording
    • "Here Comes the Sun" (SI onto take 15)
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Alan Parsons (2nd Engineer)
Room 43 and Studio Two, EMI Studios, London (2.30pm-1.00am)[85]
  • Recording
    • "Maxwell's Silver Hammer" (tape reduction takes 21 into takes 22–27 with simultaneous SI)
  • Stereo Mixing
    • "Maxwell's Silver Hammer" (remixes 14 – 26 from take 27)
  • Production Staff: George Martin (Producer), Tony Clark/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

7 August 1969

Studio Two (control room only), EMI Studios, London (2.30pm-6.00pm)[85]
  • Stereo Mixing
    • "Come Together" (remixes 1 – 10 from take 9) – remix 1 released on Abbey Road
Studio Three, EMI Studios, London (6.00pm-12.00pm)[85]
  • Recording
    • "The End" (SI onto take 7)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

8 August 1969

Studio Two, EMI Studios, London (2.30pm-9.00pm)[86]
  • Recording
    • "The End" (SI onto take 7)
    • "I Want You (She's So Heavy)" (SI onto unnumbered master)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)
Studio Three, EMI Studios, London (5.30pm-9.45pm)[86]
  • Recording
    • "Oh! Darling" (SI onto take 26)
  • Production Staff: George Martin (Producer), Tony Clark (Engineer), Alan Parsons (2nd Engineer)

11 August 1969

Studio Two, EMI Studios, London (2.30pm-11.30pm)[87]
  • Recording
    • "I Want You (She's So Heavy)" (SI onto take 1)
    • "Oh! Darling" (SI onto take 26)
    • "Here Comes the Sun" (SI onto take 15)
  • Tape copying
    • "I Want You (She's So Heavy)" (of take 1)
  • Editing
    • "I Want You (She's So Heavy)" (from take 1 into unnumbered master)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

12 August 1969

Studio Two (control room only), EMI Studios, London (7.00pm-2.00am)[87]
  • Stereo Mixing
    • "Oh! Darling" (remixes 5 – 9 from take 26) – remix 9 released on Abbey Road
    • "Because" (remixes 1 and 2 from take 16) – remix 2 released on Abbey Road
    • "Maxwell's Silver Hammer" (remixes 27 – 36 from take 27)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), John Kurlander (2nd Engineer)

13 August 1969

Studio Two (control room only), EMI Studios, London (2.30pm-9.15pm)[87]
  • Stereo Mixing
    • "You Never Give Me Your Money" (remixes 20 – 27 from take 30)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

14 August 1969

Studio Two (control room only), EMI Studios, London (2.30pm-2.30am)[87]
  • Stereo Mixing
    • "Sun King/Mean Mr. Mustard" (remixes 20 – 24 from take 35)
    • "Maxwell's Silver Hammer" (edit piece remix 37 from take 27)
    • "Polythene Pam/She Came in Through the Bathroom Window (remixes 20 -32 from take 40) – remix 32 released on Abbey Road
  • Editing
    • "Maxwell's Silver Hammer" (of stereo remixes 34 and 37)
    • Editing, crossfading and tape compilation Abbey Road Medley
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

15 August 1969

Studio One into Studio Two (control room), EMI Studios, London (2.30pm-1.15am)[88]
  • Recording
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

18 August 1969

Studio Two, EMI Studios, London (2.30pm-10.30pm)[88]
  • Stereo Mixing
    • "Golden Slumbers/Carry That Weight" (remixes 1 – 2 from take 17) – remix 2 released on Abbey Road
  • Recording
    • "The End" (SI onto take 7)
  • Stereo Mixing
    • "The End" (remixes 1 – 6 from take 7)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

19 August 1969

Studio Two, EMI Studios, London (2.00pm-4.00am)[88]
  • Stereo Mixing
    • "The End" (remixes 1 – 3 from take 7)
    • "Golden Slumbers/Carry That Weight" and "The End" (crossfade)
    • "Something" (remixes 1 – 10 from take 39) – remix 10 released on Abbey Road
  • Recording
    • "Here Comes the Sun" (SI onto take 15)
  • Stereo Mixing
    • "Here Comes the Sun" (remix 1 from take 15) – released on Abbey Road
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

20 August 1969

Studio Three (control room only), EMI Studios, London (2.30pm-1.15am)[89]
  • Stereo Mixing
    • "I Want You (She's So Heavy)" (remixes 1 – 8 from take 1, remixes 9 and 10 from unnumbered master)
  • Editing
    • "I Want You (She's So Heavy)" (of stereo remixes 8 and 10) – released on Abbey Road
  • Master tape banding and tape copying
    • Abbey Road LP
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

21 August 1969

Room 4 and Studio Two (control room only), EMI Studios, London (1.00pm-12.00pm)[89]
  • Editing
    • "The End" (take 7)
  • Stereo Mixing
    • "You Never Give Me Your Money" into "Sun King/Mean Mr. Mustard" (stereo crossfade remix 12) – released on Abbey Road
    • "The End" (remix 4 from take 7)
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

25 August 1969

Studio Two (control room only), EMI Studios, London (2.30pm-8.00pm)[89]
  • Editing
    • "Maxwell's Silver Hammer" (of master) – released on Abbey Road
    • "The End" (of master) – released on Abbey Road
  • Recording
    • "Maxwell's Silver Hammer" (sound effects)
  • Tape copying
    • "Abbey Road LP masters
  • Production Staff: George Martin (Producer), Geoff Emerick/Phil McDonald (Engineer), Alan Parsons (2nd Engineer)

No One's Gonna Change Our World and Hey Jude sessions

11 September 1969

Studio Three (control room only), EMI Studios, London (2.30pm-5.30pm)[90]
  • Stereo mixing
  • Tape copying
    • "What's the New Mary Jane" (of stereo remixes 1–3)
  • Personnel
    • Production staff: Malcolm Davies (producer), Tony Clark (engineer), Chris Blair (2nd engineer)

2 October 1969

Room 4, Abbey Road, London (9.30pm-11.00am)[91]

26 November 1969

Studio Two, EMI Studios, London (7.00pm-3.00am)[92]
  • Tape copying
  • Editing
    • "You Know My Name (Look Up the Number)" (of remix mono 4) – released as the B-side to "Let It Be"; included on Past Masters and Mono Masters
  • Stereo mixing
    • "What's the New Mary Jane" (remix 4, from take 4)
  • Stereo mixing with simultaneous overdub
    • "What's the New Mary Jane" (remix 5, from take 4)
  • Editing
    • "What's the New Mary Jane" (of remix stereo 5, called remix stereo 6)
  • Tape copying with simultaneous editing
    • "What's the New Mary Jane" (of stereo remixes 4 into 5)
  • Tape copying
    • "What's the New Mary Jane" (of stereo remixes 4 and 5)
  • Personnel

2 December 1969

Studio Two (control room only), EMI Studios, London (2.30pm-5.30pm)[92]
  • Stereo mixing
    • "Lady Madonna" (remix 1, from take 5) – released on Hey Jude; included on Past Masters
    • "Rain" (remix 1, from take 7) – released on Hey Jude; included on Past Masters
    • "Octopus's Garden" (Starkey) (remixes 1 and 2, from take 32) – for the TV program With a Little Help from My Friends
  • Personnel
    • Production staff: George Martin (producer), Geoff Emerick and Phil McDonald (engineer), Richard Lush (2nd engineer)

5 December 1969

Room 4, Abbey Road, London (2.30pm-5.15pm)[92]
  • Stereo mixing
    • "Hey Jude" (remixes 20 and 21, from take 1) – remix 21 released on Hey Jude; included on Past Masters
    • "Revolution" (remix 1, from take 16) – released on Hey Jude; included on Past Masters
  • Personnel
    • Production staff: George Martin (producer), Geoff Emerick and Phil McDonald (engineer), Neil Richmond (2nd engineer)

8 December 1969

Studio Two, EMI Studios, London (10.00am-12.15pm)[93]
  • Tape copying with simultaneous recording
    • "Octopus's Garden" (takes 1–10)
  • Personnel
    • Production staff: George Martin (producer), Martin Benge (engineer), Richard Lush (2nd engineer)

Let It Be album sessions

Let It Be was put together from the Get Back sessions, documented above. Most songs do not have formal take numbers.

5 February 1969

Apple Studios, London (time unknown)[71]
  • Stereo Mixing
    • "I've Got a Feeling", "Don't Let Me Down", "Get Back", "The One After 909", "Dig a Pony"
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), Alan Parsons (2nd Engineer)

10 March 1969

Olympic Sound Studios, London (time unknown)[72]
  • Stereo Mixing
    • "Get Back", "Teddy Boy", "Two of Us", "Dig a Pony", "I've Got a Feeling", "The Long and Winding Road", "Let It Be", "Rocker", "Save the Last Dance for Me", "Don't Let Me Down", "For You Blue", "The Walk"
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), unknown (2nd Engineer)

11 March 1969

Olympic Sound Studios, London (time unknown)[72]
  • Stereo Mixing
    • "Two of Us", "The Long and Winding Road", "Lady Madonna"
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), unknown (2nd Engineer)

12 March 1969

Olympic Sound Studios, London (time unknown)[72]
  • Stereo Mixing
    • "The Long and Winding Road", "Let It Be"
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), unknown (2nd Engineer)

13 March 1969

Olympic Sound Studios, London (time unknown)[94]
  • Stereo Mixing
    • "I've Got a Feeling", "Dig It", "Maggie May", "Shake Rattle And Roll", "Kansas City", "Miss Ann", "Lawdy Miss Clawdy", "Blue Suede Shoes", "You Really Got a Hold on Me"
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), unknown (2nd Engineer)

26 March 1969

Studio unknown, Abbey Road Studio, London (time unknown)[94]
  • Mono Mixing
    • "Get Back" (remixes 1 – 4)
  • Production Staff: George Martin? (Producer), Jeff Jarratt (Engineer), n/a (2nd Engineer)

7 April 1969

Olympic Sound Studios, London (time unknown)[94]
  • Mono Mixing
    • "Get Back" (remix 5) – released as a single on 11 April 1969; included on Mono Masters
    • "Don't Let Me Down" (remix 1) – released as the B-side to "Get Back"; included on Mono Masters
  • Stereo Mixing
    • "Get Back" (remix 1) – included on Past Masters
    • "Don't Let Me Down" (remix 1) – included on Past Masters
  • Production Staff: George Martin? (Producer), Glyn Johns (Engineer), Jerry Boys (2nd Engineer)

25 April 1969

Room 4, Abbey Road Studio, London (11.30am-12.30pm)[74]
  • Mono Mixing
    • "Two of Us" (remix 1)
  • Production Staff: n/a (Producer), Peter Mew (Engineer), Chris Blair (2nd Engineer)

30 April 1969

Studio Three, Abbey Road Studios, London (7.15pm-2.00am)[75]
  • Recording
    • "Let It Be" (SI onto take 27)
    • "You Know My Name (Look Up the Number)" (SI onto take 30)
  • Mono Mixing
    • "You Know My Name (Look Up the Number)" (remixes 1 – 3 from take 30)
  • Production Staff: Chris Thomas (Producer), Jeff Jarratt (Engineer), Nick Webb (2nd Engineer)

7 May 1969

Studio One, Olympic Sound Studios, London (8.00pm-7.30am)[76]
  • Stereo Mixing
    • Inserts for Get Back LP (unreleased)
  • Production Staff: George Martin (Producer), Glyn Johns (Engineer), Steve Vaughan (2nd Engineer)

9 May 1969

Studio One, Olympic Sound Studios, London (3.00pm-11.00pm)[76]
  • Stereo Mixing
    • Inserts for Get Back LP (unreleased)
  • Production Staff: George Martin (Producer), Glyn Johns (Engineer), Steve Vaughan (2nd Engineer)

28 May 1969

Studio One, Olympic Sound Studios, London (time unknown)[76]
  • Stereo Mixing
    • "Let It Be" (of take 27)
    • Master tape banding and compilation for Get Back LP (unreleased)
  • Production Staff: George Martin (Producer), Glyn Johns (Engineer), Steve Vaughan (2nd Engineer)

11 August 1969

Studio Three (control room only), Abbey Road Studios, London (1.00pm-2.00pm)[87]
  • Mono tape copying
    • "Dig It" (of 13 March stereo mix)
  • Production Staff: n/a (Producer), Phil McDonald (Engineer and 2nd Engineer)

1970

Let It Be album sessions (cont.)

3 January 1970

Studio Two, Abbey Road Studios, London (2.30pm-12.15am)[93]
  • Recording
    • "I Me Mine" (takes 1 – 16)
      • Wake Up Little Susie/Take 11 – released on Let It Be Super Deluxe
      • Take 16 – released on Anthology 3
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Richard Langham (2nd Engineer)

4 January 1970

Studio Two, Abbey Road Studios, London (2.30pm-4.00am)[93]
  • Recording
    • "Let It Be" (SI onto take 27, tape reduction take 27 into takes 28 – 30 with simultaneous SI, SI onto take 30)
  • Stereo Mixing
    • "Let It Be" (remixes 1 and 2 from take 30) – remix 2 released as a single; included on Past Masters
  • Production Staff: George Martin (Producer), Phil McDonald (Engineer), Richard Langham (2nd Engineer)

5 January 1970

Studio One, Olympic Sound Studios, London (time unknown)[95]
  • Stereo Mixing
    • "I Me Mine" (remix 1 from take 16)
    • "Across the Universe" (remix 3 from take 8)
  • Master tape banding and compilation
    • Get Back LP (unreleased)
  • Production Staff: Glyn Johns (Producer, Engineer and 2nd Engineer)

27 January 1970

Studio Two (control room only), Abbey Road Studios, London (10.00pm-11.30pm)[95]
  • Stereo Mixing
    • "The Inner Light" (remix 1 from take 6) – released on Past Masters
    • Production Staff: Geoff Emerick (Producer), Peter Brown/Jeff Jarratt (Engineer), John Barrett (2nd Engineer)

28 February 1970

Room 4, Abbey Road Studios, London (time unknown)[95]
  • Stereo Mixing
    • "For You Blue" (remixes 1 – 8)
  • Production Staff: Malcolm Davies (Producer), Peter Brown (Engineer), Richard Langham (2nd Engineer)

23 March 1970

Room 4, Abbey Road Studios, London (time unknown)[96]
  • Stereo Mixing
    • "I've Got a Feeling" (remixes 1 and 2)
    • "Dig a Pony" (remixes 1 and 2) – remix 2 released on Let It Be
    • "I've Got a Feeling" (remixes 3 – 6)
    • "The One After 909" (remixes 1 – 3) – remix 3 released on Let It Be
    • "I Me Mine" (remixes 1 – 3 from take 16)
    • "Across the Universe" (remixes 1 – 8 from take 8)
  • Editing
    • "I've Got a Feeling" (of remixes 1 and 2 called stereo remix 3, of remixes 3 – 6 called stereo remix 4) – stereo remix 4 released on Let It Be
    • "I Me Mine" (of remixes 1 – 3 called stereo remix 2)
  • Production Staff: Phil Spector (Producer), Peter Brown (Engineer), Roger Ferris (2nd Engineer)

25 March 1970

Room 4, Abbey Road Studios, London (time unknown)[96]
  • Stereo Mixing
    • "For You Blue" (remix 1, remixes 2 – 8 of edit piece only)
    • "Teddy Boy" (remixes 1 and 2)
    • "Two of Us" (remixes 1 and 2) – remix 2 released on Let It Be
  • Editing
    • "For You Blue" (of remixes 1 and 5 called stereo remix 1) – released on Let It Be
    • "Teddy Boy" (of stereo remix 2)
  • Production Staff: Phil Spector (Producer), Peter Brown (Engineer), Roger Ferris (2nd Engineer)

26 March 1970

Room 4, Abbey Road Studios, London (time unknown)[97]
  • Stereo Mixing
    • "The Long and Winding Road" (remix 1)
    • "Let It Be" (remixes 1 – 4 from take 30)
    • "Get Back" (remixes 1 – 5)
    • "Maggie May" (remixes 1 and 2) – remix 2 released on Let It Be
  • Editing
    • "Let It Be" (of remixes 1 – 4 called stereo remix 1) – released on Let It Be
    • "Get Back" (of remixes 3 and 5 called stereo remix 3) – released on Let It Be
  • Production Staff: Phil Spector (Producer), Peter Brown (Engineer), Roger Ferris (2nd Engineer)

27 March 1970

Room 4, Abbey Road Studios, London (time unknown)[97]
  • Stereo Mixing
    • "Dig It" (remix 1) – released on Let It Be
    • Dialogue and miscellaneous pieces for LP
  • Production Staff: Phil Spector (Producer), Mike Sheady (Engineer), Roger Ferris (2nd Engineer)

30 March 1970

Room 4, Abbey Road Studios, London (time unknown)[97]
  • Stereo Mixing
    • "For You Blue" (unnumbered stereo remixes)
  • Production Staff: Phil Spector (Producer), Mike Sheady/Eddie Klein (Engineer), Roger Ferris (2nd Engineer)

1 April 1970

Studio One and control room Studio Three, Abbey Road Studios, London (7.00pm-time unknown)[97]
  • Recording
    • "Across the Universe" (tape reduction take 8 into take 9, SI onto take 9)
    • "The Long and Winding Road" (tape reduction of 31 January 1969 recording into takes 17 – 19, SI onto take 18)
    • "I Me Mine" (tape reduction extended edit of take 16 into takes 17 and 18, SI onto take 18)
  • Production Staff: Phil Spector (Producer), Peter Brown (Engineer), Richard Lush (2nd Engineer)

2 April 1970

Room 4, Abbey Road Studios, London (time unknown)[98]
  • Stereo Mixing
    • "The Long and Winding Road" (remixes 10 -13 from take 18)
    • "I Me Mine" (remixes 10 – 12 from take 18)
    • "Across the Universe" (remixes 10 – 13 from take 9) – remix 13 released on Let It Be
  • Editing
    • "The Long and Winding Road" (of stereo remixes 10 and 13) – released on Let It Be
    • "I Me Mine" (of stereo remixes 11 and 12) – released on Let It Be
  • Production Staff: Phil Spector (Producer), Peter Brown (Engineer), Roger Ferris (2nd Engineer)

8 May 1970

"Let It Be" LP release

  • Two of Us, mixed 25 March 1970, recorded 31 January 1969 take 11[99][100] (DDSI 31.13 [100])
  • Dig a Pony, mixed 23 March 1970, recorded 30 January 1969 at the rooftop concert (DDSI 30.11[101])
  • Across the Universe, mixed 2 April 1970, recorded 4 and 8 February 1968 take 8 [40][93]
  • I Me Mine, mixed 2 April 1970, recorded 3 January 1970 take 16 [93]
  • Dig It, mixed 27 March 1970, recorded 26 January 1969 (DDSI 26.55 [102]). ("Dig It" was an eleven-minute, twenty-five second jam that had a fifty-second excerpt included in the Let It Be album, due to the fact that a section of it was included in the film by the same name).
  • Let It Be, mixed 26 March 1970, recorded 31 January 1969 take 27[99] (DDSI 31.64 [103])
  • Maggie Mae, mixed 26 March 1970, recorded 24 January 1969 (DDSI 24.49 [104]). (Maggie Mae was a traditional Liverpool folk tune that the Beatles played in the early 1960s).
  • I've Got a Feeling, mixed 23 March 1970, recorded 30 January 1969 at the Rooftop Concert (DDSI 30.06 [105])
  • One After 909, mixed 23 March 1970, recorded 30 January 1969 at the Rooftop Concert (DDSI 30.08 [105]). ("One After 909" was an early Lennon–McCartney composition that was originally recorded in 1963 and was re-recorded for the Let It Be album.)
  • The Long and Winding Road, mixed 2 April 1970, recorded 26 January 1969 (DDSI 26.91 [106])
  • For You Blue, mixed 25 March 1970, recorded 25 January 1969 take 6[107] (DDSI 25.47[108])
  • Get Back, mixed 26 March 1970, recorded 27 January 1969 (DDSI 27.63[109]). (Segment of speech by McCartney and Lennon was included after the song appearing on the album).

Notes

  1. ^ Hewitt, Paolo (24 May 2000). "One for the road". www.theguardian.com. Guardian News and Media Limited. Retrieved 25 April 2018.
  2. ^ Kozinn, Allan (11 December 2013). "European Copyright Laws Lead to Rare Music Releases". The New York Times. Retrieved 8 January 2014.
  3. ^ a b c d Lewisohn 2004, p. 92.
  4. ^ a b c d Lewisohn 2004, p. 93.
  5. ^ a b c d Lewisohn 2004, p. 94.
  6. ^ a b c d e Lewisohn 2004, p. 95.
  7. ^ Lewisohn 2004, p. 96.
  8. ^ a b c Lewisohn 2004, p. 97.
  9. ^ Lewisohn 2004, p. 98.
  10. ^ a b c Lewisohn 2004, p. 99.
  11. ^ a b c d Lewisohn 2004, p. 100.
  12. ^ a b c d Lewisohn 2004, p. 101.
  13. ^ a b c Lewisohn 2004, p. 102.
  14. ^ a b c Lewisohn 2004, p. 103.
  15. ^ a b c Lewisohn 2004, p. 104.
  16. ^ Lewisohn 2004, p. 105.
  17. ^ a b c Lewisohn 2004, p. 106.
  18. ^ a b c d e Lewisohn 2004, p. 107.
  19. ^ a b Lewisohn 2004, p. 108.
  20. ^ a b c d Lewisohn 2004, p. 109.
  21. ^ a b c Lewisohn 2004, p. 110.
  22. ^ a b c d Lewisohn 2004, p. 111.
  23. ^ a b c Lewisohn 2004, p. 112.
  24. ^ Lewisohn 2010, p. 256.
  25. ^ Lewisohn 2004, p. 114.
  26. ^ a b c d e Lewisohn 2004, p. 116.
  27. ^ a b c d e Lewisohn 2004, p. 117.
  28. ^ Lewisohn 2004, p. 120.
  29. ^ Lewisohn 2004, p. 121.
  30. ^ a b c Lewisohn 2004, p. 122.
  31. ^ a b c Lewisohn 2004, p. 123.
  32. ^ a b c Lewisohn 2004, p. 126.
  33. ^ a b c Lewisohn 2004, p. 127.
  34. ^ a b c d e Lewisohn 2004, p. 128.
  35. ^ a b c Lewisohn 2004, p. 129.
  36. ^ a b c d e f g Lewisohn 2004, p. 130.
  37. ^ a b c Lewisohn 2004, p. 131.
  38. ^ a b Lewisohn 2004, p. 132.
  39. ^ a b c Lewisohn 2004, p. 133.
  40. ^ a b c d e Lewisohn 2004, p. 134.
  41. ^ Lewisohn 2004, p. 135.
  42. ^ a b Lewisohn 2004, p. 136.
  43. ^ a b c d e Lewisohn 2004, p. 137.
  44. ^ a b Lewisohn 2004, p. 138.
  45. ^ a b c d e Lewisohn 2004, p. 139.
  46. ^ a b c d Lewisohn 2004, p. 140.
  47. ^ a b Lewisohn 2004, p. 141.
  48. ^ a b c Lewisohn 2004, p. 142.
  49. ^ a b c Lewisohn 2004, p. 143.
  50. ^ a b c Lewisohn 2004, p. 144.
  51. ^ a b c d Lewisohn 2004, p. 145.
  52. ^ a b Lewisohn 2004, p. 146.
  53. ^ a b c d e Lewisohn 2004, p. 147.
  54. ^ a b c Lewisohn 2004, p. 148.
  55. ^ a b Lewisohn 2004, p. 149.
  56. ^ a b c Lewisohn 2004, p. 150.
  57. ^ a b c d Lewisohn 2004, p. 151.
  58. ^ a b c Lewisohn 2004, p. 152.
  59. ^ a b Lewisohn 2004, p. 153.
  60. ^ a b c Lewisohn 2004, p. 154.
  61. ^ a b c d e Lewisohn 2004, p. 155.
  62. ^ a b Lewisohn 2004, p. 156.
  63. ^ a b c d Lewisohn 2004, p. 157.
  64. ^ a b c d Lewisohn 2004, p. 158.
  65. ^ a b c Lewisohn 2004, p. 159.
  66. ^ a b c Lewisohn 2004, p. 160.
  67. ^ a b c d e f Lewisohn 2004, p. 161.
  68. ^ a b c d Lewisohn 2004, p. 162.
  69. ^ a b Lewisohn 2004, p. 163.
  70. ^ a b Sulpy, Doug; Schweighhardt, Ray (2007). Drugs, Divorce and a Slipping Image: The Complete, Unauthorized Story of the Beatles Get Back Sessions, see index on pp. 270–278
  71. ^ a b c d Lewisohn 2004, p. 170.
  72. ^ a b c d Lewisohn 2004, p. 171.
  73. ^ a b c d e Lewisohn 2004, p. 173.
  74. ^ a b c d Lewisohn 2004, p. 174.
  75. ^ a b c Lewisohn 2004, p. 175.
  76. ^ a b c d e Lewisohn 2004, p. 176.
  77. ^ Lewisohn 2004, p. 177.
  78. ^ a b c d Lewisohn 2004, p. 178.
  79. ^ a b c Lewisohn 2004, p. 179.
  80. ^ a b c d e f g Lewisohn 2004, p. 180.
  81. ^ a b c d e f Lewisohn 2004, p. 181.
  82. ^ a b c d e Lewisohn 2004, p. 182.
  83. ^ Lewisohn 2004, p. 183.
  84. ^ a b c d Lewisohn 2004, p. 184.
  85. ^ a b c d e f Lewisohn 2004, p. 185.
  86. ^ a b Lewisohn 2004, p. 186.
  87. ^ a b c d e Lewisohn 2004, p. 187.
  88. ^ a b c Lewisohn 2004, p. 190.
  89. ^ a b c Lewisohn 2004, p. 191.
  90. ^ Lewisohn 2004, p. 192.
  91. ^ Lewisohn 2004, p. 193.
  92. ^ a b c Lewisohn 2004, p. 194.
  93. ^ a b c d e Lewisohn 2004, p. 195.
  94. ^ a b c Lewisohn 2004, p. 172.
  95. ^ a b c Lewisohn 2004, p. 196.
  96. ^ a b Lewisohn 2004, p. 197.
  97. ^ a b c d Lewisohn 2004, p. 198.
  98. ^ Lewisohn 2004, p. 199.
  99. ^ a b Lewisohn 2004, p. 169.
  100. ^ a b DDSI, p. 261.
  101. ^ DDSI, p. 257.
  102. ^ DDSI, p. 220.
  103. ^ DDSI, p. 264.
  104. ^ DDSI, p. 196.
  105. ^ a b DDSI, p. 256.
  106. ^ DDSI, p. 223.
  107. ^ Lewisohn 2004, p. 165.
  108. ^ DDSI, p. 210.
  109. ^ DDSI, p. 230.

References

Retrieved from "https://mdwiki.org/wiki/Draft:The_Beatles%27_recording_sessions_(1967–1970)"