What Goes On - The Beatles Anomalies List Anomalies A Across The Universe 0:00 [Let It Be version] The attack of the first note of the guitar is clipped off. 2:28 [Past Masters Volume 2 version] Listen! After the line "inciting and inviting me", a bassy, soft male voice in the right channel says something like "Hit me with a pizza". OOPS brings this out better than listening to just the right channel.

Act Naturally 1:59 Right channel, the backing vocal comes in late, on the words "you come..." 2:18 The right hand harmony sings "All I gotta do is, act natch" and is then cut off by the guitar riff. 2:25-2:26 Numerous rattles and hisses in outro, both left and right channels. John almost entirely misses the last strummed acoustic chord!

A Day In The Life 0:36 The middle note (the 'D') of the three descending notes after John's "aaah" is played a little early and quiet, with a backbeat feel that doesn't match the rest of the playing. 1:43 Switch click as the orchestra comes in, orchestra's volume suddenly doubles at this point (right channel). Maybe this is the introduction of one of the additional tracks of orchestra used to thicken the sound. 1:44-2:16, 3:50-4:19 Mal Evans is heard counting the bars from 1 to 24; only about the first dozen are audible, starting at about three to 12 (left channel). 1:53 "9" and 1:55 "10" stick out quite well, as do 3:51 "4" 3:52 "5" 3:53 "6". 2:17 Right channel - sudden intake of breath. 2:18 Listen! An alarm clock sounds to mark the end of the first 24 bar orchestral section. At this point in the recording, there was a gap 24 bars long, with no orchestra. It was undecided what would go there, the orchestra was added in later. 2:18-2:20 A strange ticking noise, like a rotary-dial phone returning to its rest position. It could be a 'tick' sound through a heavy delay setting. Then someone says "One" to mark the downbeat (it's easy to lose the correct rhythm without this). Quieter, but just audible on the CD is the trailing "two three four" (right channel). 2:40 Strange effect on the "t" of "flat", it's really over-pronounced, like "fla-tuh". 2:42-2:48 Just before and after the words "had a smoke", Lennon starts talking and carrying on, most audibly a loud "hoooo" under the word "smoke" (right channel). 2:58

(Left channel) Sounds like a cough. 3:02-3:12 Paul can be heard doing a faint falsetto "ooo" harmony above John's more prominent "aah's". 4:49-4:52 Listen! A chair squeaking (four creaks total, the last three being most audible). This is probably one of the piano stools. Also wrongly reported as a nose sniffle, paper rustling, someone saying "Shh!", the sustain pedal being released on the piano ... 4:52-end I've failed to verify reports I occasionally get of the sound of an air conditioning fan in this area of the track. I've also seen reference to it in Lewisohn's "Recording Sessions", but I can't find it to verify for myself. Rumour has it that the alarm clock at 2:18 was timed to go off after 24 bars to mark where the downbeat is. Common sense should tell you that this is nonsense. You cannot set an old, mechanical style alarm clock to go off with anything like that level of accuracy. The more likely explanation is that the alarm was "let off", that is deliberately triggered by hand at that moment. Lewisohn states this was a mechanism to mark the end of the passage. Many people disbelieve this, as the musicians should be capable of following along for 24 bars. However odd Lewisohn's comment seems, it may well be true. I've had justifications of why the count of bars (on its own) is insufficient to cue the orchestra. JustToJess@aol.com writes I've spent my entire life since I was three in musical theatre, and I can assure you that many people do need to "wake up" after 24 bars of music. Not that they have poor concentration, or that they would have missed the cue, but after rehearsing this song over and over and over again, and after countless takes, it is VERY reasonable to assume that the alarm clock (most likely hit from the piano ...) got them back into the music, and started that "umph" that they needed to maintain the same quality of ... atmosphere? Charisma? I don't know the right word, but just that little bit of enthusiasm and excitement by the performers that gives the song that special something. I know that many a director I have worked with has done something like this during long, tedious rehearsals. Yes, certainly the alarm fits in with the "Woke up, fell out of bed..." line. I don't think that was intentional - it is widely written that fitting with the lyrics was only coincidental, and the alarm clock's purpose was originally as a marker. Nothing more. A happy accident that was capitalised on, as the Beatles often did. Even given this, I still received reports on this alarm clock entry, perpetuating the idea that the alarm was set and timed to go off after 24 bars. Please feel free to try it with any wind up alarm clock of your choice, if you can do it, I'd like to hear about it. I think the reason for this long running misconception is this :There is a very subtle distinction between "setting an alarm clock to go off" and "setting an alarm clock off". In telling of this story, one phrase has turned into the other. The former implies an interval passing between doing something with the clock, and having it sound 24 bars later. The latter implies direct interference with the clock to make it sound now. The latter is the only reasonable explanation.

A Hard Day's Night 1:33 Towards the end of the solo, everything slows down slightly. 2:17, 2:19

Mono CD has a distinct "stereo" wobble in the track here during word "All-ll", and then "feel". This is more audible on headphones, and probably caused by physical damage to the master tape.

A Taste Of Honey 1:43 Where John and George respond to Paul's "I'll come back", George (higher harmony) only seems to manage "ll come back". Maybe he wasn't sure as to whether it was "I'll", "He'll" or "You'll". John's voice is the low harmony.

All I've Got To Do Whole Song Squeaky pedal mechanism on the bass drum throughout the song, especially audible in the intro (0:03,0:05,0:07). "When ever I ... " and from 1:51 onward in the fadeout. 0:01 Strange buzz or squeak noise in the opening strum, which doesn't sound like fret buzz from the guitar. 1:18-1:21 Stereo version only, Paul hums the melody low in the background (right channel). 1:21-1:22 Definite edit in the track here between "running home" and "yeah, that's".

All My Loving Right before start Parlophone Stereo LP PCS3045 "With The Beatles" has an audible ghost of the opening "Close your eyes" phrase. This may be print-through in the master tape used to make the master disc, but it is possibly a mechanical effect of the stylus picking up the next groove along on the record, in the background. Certainly, this is not audible on a CD. It may happen with other tracks too, but on vinyl only. 1:02-1:11 Cymbals get louder for a few bars, but only for part of the solo. 1:19 Really bad (very unusual) mistake from Paul, he plays a completely wrong note in the bass line on the word "miss". It sounds like he may have played the next highest string up by accident, the note is very very sharp! 1:51-1:54 Paul's "All My Loving" may be edited (mono and stereo versions), it is preceded by a vocal noise (this noise is audible in the right channel of the stereo version). 2:03 Possibly paper rattling.

All Together Now 0:14, 0:24 Click, right channel. 1:00 Paul definitely seems to sing "Yellow Olange and Blue". Some suggest this is

a tongue twister, transferring the 'l' sound between Yellow and Blue into Orange. Say "Red Lorry Yellow Lorry" rapidly, and repeatedly. Others suggest he may have been thinking of the colour "Olive". Ratko Santl says That kind of thing happens because our vocal apparatus is slow and it is searching [for] the easiest (most comfortable) way to pronounce vowels and consonants. 1:28 Voice on the left channel says "Help ... Me ...", under the main lyric of "skip the rope". There are a couple of other quiet vocals here, but they seem to match the main lyric.

All You Need Is Love 0:08-0:14 Listening to the centre (gentle) snare sound, it is clearly ahead of the beat (reference to left channel instruments) for a little while at the start of this phrase. 0:10 Nasal intake of breath. Between the lines of the song John can also be heard chewing gum! Listen before the line "nothing you can make that can't be made" (0:44) for the most obvious one. 0:23 Plink of a guitar with a plectrum (left channel). This was fixed in the new Yellow Submarine remastered CD/DVDs. 0:25 Right channel, someone speaks. It sounds like "then check it", "Check it Steve" or possibly "makes a change", "makes the change tough". Also fixed in Yellow Submarine remastered. 1:19,1:23 Two edits in the guitar tracks, right channel. 1:27-1:33 Random plinking of solo guitar, this isn't part of the solo, surely? 2:06-2:10 Plinking notes, guitar (banjo like sound, centred), they don't seem to fit with the song. Followed by a tentative go at the riff at 2:08. 3:13-3:18 Paul makes a few errors in the bass part. His speed varies all over the place through this part. For a detailed look into who sang "She Loves You, Yeah Yeah Yeah" at the end of this track see this discussion in the extras section. You may be surprised.

And I Love Her 0:40 Double tracking error on the phrase "lover brings". 0:49 Click. 1:08-1:15 Vocal loses double tracking for these two lines. 1:15 Quiet click, maybe this is where the double tracking restarts. 1:28 Sounds like Paul says "Tut!" 1:47 Talking during the end of the guitar solo (Hard to hear on the CD).

2:12 Someone "Dum Dum Dum's" the guitar line. Michael Bain suggests that Paul was the culprit. I thought it was George... 2:24 Creak, someone leaning back in a wooden chair? (Not audible on CD).

And Your Bird Can Sing Whole song John's tambourine playing is very on-off beat, as if he couldn't decide what he wanted to do with it. 0:02 John or Paul takes a deep breath under the cover of the intro, most audible in the right channel. 0:36-0:51,1:05-1:20 Listen to the pattern of the hi-hat in the right channel. There is some inconsistency between the patterns Ringo plays in the first and second versions listed above. 1:14 Hi-hat here is a lot louder than the surrounding beats. 1:20 Sharp edit as cymbal crash is dropped in. The crash is a beat too early anyway (compare 0:51, where the crash is on beat 2 of the bar, not beat 1) which is why it got caught in the edit. 1:58 Faint guitar notes mixed in with the bass line, during and after the fade out.

Anna (Go To Him) Whole Song The bass drum pedal squeaks through this song. 0:22-0:25 Rhythm guitar stops here for a moment. 1:15-1:18, 2:11 (but less obvious) George seems to expect a "minor" harmony to be appropriate here, and wavers into a major one. Jim Neher points out Many bridges include a four-chord that goes to minor, and George apparently expected this even though it is not there. 1:40 John sings the word "ring" very flat. 2:01 A possible edit after "like I", the rhythm guitar pops up in level, and there is a click. 2:52 A click (probably drumsticks) then a pop (maybe a guitar).

Another Girl 0:20,0:36 Stray electric lead guitar notes. 1:03 Subtle drop in the cymbal ring, and the volume of acoustic guitar, plus a click. A possible edit?

Any Time At All 0:04,0:41,1:18,1:49 Note that although John sings the lead vocal throughout the song, Paul does the second "Any time at all" every time. This is often not noticed. 0:14 Click, and a time lag in the guitar rhythm. Maybe there's an edit here? 0:38 Edit between "at" and "all". The acoustic guitar strum becomes heavier, and the bass guitar gets louder here. 1:29-1:35 Discrepancy between guitar chords and keyboard chords (second and third chords of the run differ). 1:32 Talking during solo. 1:48 Edit in cymbal track. 1:59 John flubs the vocal, missing the first "Any" on the double tracking. 2:07 Tape wrinkle at fade out, although this track is mono, the stereo image wobbles.

Ask Me Why 0:31, 0:40 John's voice cracks on "makes me cry" and "if I cry". What is it with John and the word "cry"? In "I Am The Walrus" he struggled with "I'm crying". In "I'll Cry Instead", an edit was performed around the word "cry" (1:10). Now this! Anomalies B Baby It's You Whole Song, most audible 0:00-0:10 Kick drum pedal squeaks yet again! Listen just after the "Sha la la la la!" 1:43 John or George does a "Sha la la la la" very quietly after the main one, as if there was going to be a run down into a new verse here. Just audible on mono version, clearer on stereo.

Baby's In Black 1:30 Bad edit in the words "Baby's in black". Best heard in the stereo version, right channel. The strummed guitar appears out of nowhere here, further enhancing the edit. Also, the maracas and bass jump up in level. On the mono CD, this is corrected, but there is a stumble in the drumming at that point. 1:44 John and Paul harmony error. 1 says "And though he'll never come back..." 2 says "But though she'll never come back..." 1:51 A third voice trails a faint harmony in above the other two just for the

words "dear, what can I do, baby's in ... feeling blue". Most audible on the word "black". 2:03 Right channel, at the very end there is a rattling of paper (after the tambourine stops).

Baby You're A Rich Man 0:03 Faint noises, possibly talking? (left channel). Fixed in Yellow Submarine remastered. 0:26,0:28 Strange noise from one note caught on the guitar (low pitch) then the synth/Mellotron (high pitch) in the left channel. 0:48 Someone comes in early on vocals "Ho-How does it feel..." 0:53 Sounds like a bell, or possibly a glass being hit. Fixed in Yellow Submarine remastered. 1:08-1:11 Offbeat clicks, left channel. 1:18-1:19 Paul plays the bass a bit late, lagging behind the beat. 2:20 Hissing noise, and talking off microphone. 2:30-2:58 This has been reported so many times, I have resisted including it because I have never been able to verify it. I think this is one of those urban legends that has just got out of hand, so I'm adding an entry to try and redress the balance. According to popular myth, John definitely sings "Baby you're a rich fat Jew". According to the other popular myth, John definitely sings "Baby you're a rich fag Jew". According to another less popular myth, Paul is the culprit. These statements are supposedly directed at Brian Epstein. While I can well believe that this is not beyond John's sometimes cruel and scathing sense of humour, it is not the case on this recording. It is not "very clear that he is saying it", nor is it true "because I read it in a book about the Beatles". The words are simply "Baby You're A Rich Man Too". It sounds more like "A Reech Ma Too" simply because of lack of diction. This is another case of reading too much into a lyric.

Bad Boy 0:50 Vocal edit after the falsetto "Oooo". 1:59 Last note of the downward guitar riff is very dead (right channel), only the double-tracking helps to hide this.

Back In The USSR 0:09 Right channel, no-one's sure whether this is a voice saying "Guitar", or a guitar saying "Guitar". It's very odd. 0:31,0:48

Paul (drumming on this track) misses the snare, and provides an unintentional rimshot. This is best heard on the right channel, as another snare is dubbed onto the left side. 1:05 A cut, as "Ukraine" comes in. In the right channel, the word comes in a little early, and the cymbal too. This throws the beat off slightly. On the left, the airplane effect drops in level at this point. Maybe a short section of tape was cut out here, or this is a badly judged edit. 2:24-End Many people have reported a range of various things said at the end here, especially at 2:39 "How's That?", "How Bout It?", "Ha ha!" etc. It's actually just "I'm Back!". The other speech from 2:24 up to this point is Paul ad-libbing "Ah, let me tell you honey. Hey I'm back. I'm back in the USSR. Oh yeah, it's so good to be here. Yeah - back in the USSR".

Because 0:00 First note's attack is clipped off, making it sound different.

Being For The Benefit Of Mr Kite 0:54 Accidental hit of the ride cymbal. Also hinted as Ringo losing the drumming pattern and trying to catch up. 1:24 Tambourine and hi-hat combination percussion missed for the last-but-one beat (listen to the left channel, it drops in "impact" for the first beat of the pair). 1:28 Stray note, right channel, just after the piano crashing chords (bam-bam-bam-bam, bam-bam [honk]). 1:44 Someone either punched out or faded out the beginning of the line "Having been some days ..." leaving "...ving been" The full sentence can be heard in the version on Anthology. 2:26-2:27 Sounds like the main organ part goes out of tune (flat) here. Actually, this is an aural illusion, caused by the swirling organ, calliope and fairground effects tape in the background. This tape is not strictly tuned to the track, and it affects your judgement of the tuning of the main instruments.

Birthday 0:14,0:17,0:21 Fairly audible noises from the lead guitar, the strings aren't quite muted, and are making scratching noises. 0:24 Bass guitar pans to the right and then centres again. 0:36 Stereo glitch, this is a fault in the master tape. Occurs on second note of guitar riff, and it wobbles the stereo field. Listening in OOPS, you should hear a brief "crunch" noise here, as the damage goes by. 0:46

A second tambourine rattles, under the existing tambourine pattern. This extra tambourine is in the widely spaced vocal track. 0:42-0:47 Whispering between vocalists. You can then hear Paul counting (screaming!) the bar numbers from 1 to 8, up to 0:56. 1:34,1:37 Reported as "female voices" mocking Paul for saying "Come on", and then saying "Birthday". Actually, this is all Paul. He says "Wooh!" (1:28), "C'mon" (1:31), [unintelligible, possibly edited] (1:33) and "Baby" (1:37 in a falsetto voice). 1:45 One of the guitars misses the first note of the riff. 1:46 Click, to the far left. 1:49 Shaker (cabasa?) rattles on into the "guitar only" section. 1:52 The first note of second phrase in this section is quite out of tune. 2:08-2:10 Listen! Previous take's "dance" shows through, resulting in Paul ending up singing "Daaaannceee/oo/aaaance". Barely audible in mono mixes, there's too much other audio in the foreground. 2:12 Strange clonk, centred, almost like a cowbell. 2:37 Laughter after the drumming stops. 2:38-2:39 Tambourine rattle and two odd clicks at fade out.

Blackbird 0:00 Right at the very start of this track someone says "play" in a high pitched voice. Graeme Jamieson points out that this should be on the end of I'm So Tired, and is only here due to poor mastering when making the CD. It's in that "pre-gap" area of the track, where your CD player normally counts backwards into the start of the song. See the entry for "I'm So Tired". Whole Track Often misreported as "Paul's foot tapping" or "clicking", this is a mechanical metronome, which is used to time the song. Listening carefully, there is a "clip-clop" two tone sound to it. This is so that you can tell between the up and the down beats of the rhythm. In the middle break where it stops, it is faded out over two beats (the song slows down, but the metronome can't). It's not switched off. Some people report it being switched back on, due to a click at 1:41, this is really a creak from the guitar. Counting beats across this section in an audio editor shows that the metronome never stopped, never slowed, and didn't miss a beat, despite the fact that the guitar playing does slow down, break, and restart. It was deliberately recorded, it's not leakage into the guitar mic (otherwise it couldn't be faded out for the ritard in the middle of the song).

Blue Jay Way 0:34 Short high pitched tone, left channel.

1:24 2:20 One voice finishes "street" before the other one does. ("Streeet-eet"). Either a double tracking error, or Paul joins in singing just the two words "you be" in harmony. 2:22 Wooden click in vocal track (right channel). 3:09-3:11 Reported as voices under chorus. This seems to be one of the many sections of reversed sound that are faded in and out. It's the whole track being played in reverse, and dipped in and out of the mix.

Boys Whole Song Ringo's bass drum pedal is squeaking most of the way through the song. (Quite audible at 0:29-0:30 where the backing is quieter). Anomalies C Can't Buy Me Love 0:45 One low string on the acoustic guitar is flat. Most obvious at this point, but it can be heard elsewhere. This is under "Everybody tells me so". 1:16-1:25 Guitar solo - there is a second solo in the background! This is apparently leakage from one of George's "atrocious live solos" he played when it was recorded in Paris. 1:27 Shouts of "Hey!" in the background. 1:56 Stray vocal note "Mmmm buy me love". 2:02 Stray "Can't" that never got double tracked - this has been wrongly suggested as a "mmm" at the end of the preceding phrase "buy me love-mmm". Stereo version makes this clearer?

Carry That Weight 0:01 Quick push up of the mixer's fader makes the piano on the right channel "surge" louder, just before the pattern changes to the heavier playing style. 0:19,0:20 Bad bass guitar fumble and recovery. 0:24-0:33 Drop outs in the orchestra section. Sounds like a worn tape. Also suggested as bad microphone leads/jacks, but the sound flutters in a manner consistent with edge damage to the tape, or crinkling. 0:49 Double click, centred. 1:04 Click, during brass stab. 1:00 One high note on the piano clipped by accident. 1:18 It sounds like half the voices are singing "Paul, you're gonna carry that

way ..."

Chains 0:30 Reported as "bad sibilance on the word Chains", this has possibly been fixed in some mixes. Sibilance is that nasty "SSsshh" that you get on some "s" sounds. Unfortunately, the whole song seems to have lost its "s" sounds, and maybe this is why, i.e. "Chain. My baby got me locked up in chain" (Mono CD mix). There also seems to be a hi-hat embedded in the word, making it sound like "a-Tain". 0:51 Faint click here, maybe a guitar tone switch flipping? 0:59-1:14 Rhythm guitar breaks up badly - more obvious on the stereo version than mono. 1:27 Maybe John - "S'at enough?"/ "S'at the rhythm?".

Come Together Throughout Sound of the drum snares rattling fades in and out - it sounds like the engineer trying to minimise the rattling caused by Ringo's drumming, only fading the snare back in when needed. There is still a small amount of bleed into the other drum mics though. 0:35 Left channel, loud fret squeak. 1:27 Someone shouts "All right" in the background before the line "He bag/bad production" (Listen on right channel). This may be a guide vocal leaking through from when the drums were recorded. 2:02 Someone shouts "All" before John's "right" (right channel). 2:27-2:28 Clicking sound (left channel, twice). 2:30 Shout of "Look Out!" before the line "He rollercoaster" (again, right channel). 2:50 Shout, or more of Lennon's guide vocal. 3:08 Out of tune stray guitar note, centre. 3:13 Shout, like "Yaaah!"

Cry Baby Cry 0:00-0:10 John's vocal starts low in the mix, and normalises over 10 seconds. 0:27-0:28 Click at the very end of "children's piano playing" effect, which is overlaid on the piano playing properly. 0:45 The word "friend" goes very dull, and drops in volume. 1:19

One note in the guitar chord is very discordant when overlaid on the piano chord. 2:28 Right channel, sounds like a warbled alarm clock going off. Probably an odd effect from the acoustic guitar. The talking, often thought to be at the end of this track, is explained and transcribed under the entry for Revolution number 9, as it is part of that track on the CD. Anomalies D Day Tripper 0:05-0:06 Click, centre. 1:20 Right channel only, someone shouts "Hey!" right before the solo starts. 1:40 The note progression that starts at 1:21 in the left channel (guitar) seems to cut off very abruptly at 1:40, as if excess was edited away. 1:50, 1:56, 2:32 There are three extremely noticeable dropouts near the end of the song. This is not on any earlier mixes of the same take, so it is quite likely that it happened during the mastering stage. Other mixes show a sound at 1:50 that was likely the reason for the dropout, and John's misplaced "yeah" at 2:32, but one has to wonder if the cure wasn't worse than the illness. This is particularly true in the 2:32 case, since one can still hear the "yeah" as we plunge into the dropout. The dropout at 1:50 punches the sixth note of the riff out, 1:56 punches the first note of the riff out. 2:06 1st voice: "She was a daaay tripper, Sun-day driver yeh" 2nd voice: "She was a daaay tripper, One-day driver yeh" John is still thinking "one-way ticket yeh" and half-sings it! 2:40 Paul's bass line gets stuck, gets stuck, gets stuck, gets back into it.

Dear Prudence 1:45 (Left) The bass guitar is tapped for two notes, and struck for the third during the quiet break here. 2:05 (Left) The solo electric guitar, which faded out at 2:00 reappears here as if the fader was brought up too soon. 2:07, 2:11 (Left) Rumbling or sliding sound, followed by bump noise. Probably accidental sounds from the bass guitar. 2:10-2:11 Leakage of picking of an acoustic guitar (centre) during quiet spot. Whether this is the "unprocessed" sound of one of John's guitar tracks that we can hear on the right, or whether it is a guide part, I don't know. 2:38-2:39 Slight hesitation in the bass guitar part, as if Paul was going to go for one more go at his descending riff, than realised to change patterns. One note is late while thinking about it. 2:50 Bass guitar tone changes suddenly to a woodier sound, and it carries on to end of track like this.

Devil In Her Heart 0:25 Somebody in the backing vocal enters at the wrong note and quickly corrects, scooping upward. 2:04 Accidental early start to the end guitar figure.

Dig A Pony 0:02-0:09 Listen! Unknown voices from the film crew "Rolling?" "Yeah!" "Ok!" John: "Ah 1 2 3 er". Ringo: "Hold it!" John: "Aaah." Paul: "Hooold it ..." John: "Ah One Two [Tell You]?" (a play on the title "I Want To Tell You"?) Despite the count in measure being 4 beats, the song is in 3/4 time. The false 'fourth' beat is the downbeat of the next bar, coinciding with the bass note, and the second word of "Hold it". 1:42 Left channel, there's a click and small change in guitar sound - possible drop in or edit? 2:10 Paul's voice cracks on high harmony, "Be-c .. ooh!" 2:41-2:42,3:03 Two plosives in John's mic/vocal on "indi[c]ate every[th]ing" and "[b]oat you row". 3:45-3:53 Listen! John says: "Thank you, brothers. Me hands getting er... too cold to play the chords". Edited in from the rooftop performance.

Dizzy Miss Lizzy 0:42 Strange tempo anomaly - the track goes out of time here. One bar here is played a little too fast. Eddie G reports that On "Dizzy Miss Lizzy", the first time John sings "Come on, give me fever", the whole band come in maybe a beat too early. If you count or tap along with the song up till and after that point, it's totally obvious. But they managed to get away with it by all coming in together. Counting cowbell strikes, there is the correct number of beats. The bars before and after this point are the same length. The bar through this drum fill, however, is a bit shorter. One rushed bar? 0:49 John flubs the lyric "You make me Dizzy Dizz Lizzy". 1:23-1:26 Right channel, the drums drop out - they continue on left channel only. Jeremy Deubler writes

The lead guitar riff should be very prominent throughout the song. There are several mistakes that can be heard: 1) At the beginning of the song, the riff is repeated a few times before the vocals come in. It sounds as though the riff is double-tracked. At "You make me dizzy Miss Lizzy," (0:23) the first note of the riff seems to be missing. The next time, (0:26) one of the guitars plays the first note but the other misses it. This happens several times (0:30, 0:40) etc. 2) After the break when John comes back in with "You make me dizzy...", the riff is played very quietly as if George is unsure (1:31), and right at the last note, the riff from the other track (if it was double-tracked) comes in - one must have been in the wrong place! (1:47) 3) Through that whole verse, the riff is played very quietly, as if George doesn't know when to come in or something.

Don't Bother Me 0:03 Reported as George Harrison commenting about it being "too fast". Also reported as George saying "B-flat". I can't hear anything clearly, just a vocal "aa" sound.

Don't Let Me Down 0:01-0:04 The sound level from the bass or guitar amplifiers causes the snares to rattle, which is picked up in the drum mics. Happens at other places throughout song. 1:09 The word "let" distorts quite a bit. 1:31 Faint edit, finger click can be heard. 1:43 Just after "it's a love that has no past", talking is heard (John's voice), sometimes heard as "Believe it/me". "Lennon9@earthlink" says on this "Well here is one possibility....In all of the ends of the previous verses Paul plays the high E in various manners....one note slides...sixteen note flourishes etc... When 1:43 rolls around I think John looks over at Paul and says "Leave it." just before Paul would have hit the high E..." Possible, but to me it seems like coincidence - and there's a definite leading "S" to the words, and sounds more like "San ee eh/ih". rubbersoul_12@hotmail.com also offers John calls, "Good evening" to someone entering the studio. Drew Hill adds John says "it's in E flat" referring to the key ... which is a shame, because it's in E (thanks for pointing that out, Chris Chardi! I should've known better, to quote the song ...) Another alternative is "It's an infinite", referring to the love that lasts for ever, and has no past. Jeffrey Jacobs says I came up with another interesting theory on what he might be saying: "CD Player!" That would be impressive, if true! Father Titus says [in reference to the rooftop weather] I concluded that what John is saying is simply, "It's sleeting".

1:56 2:12 Tambourine rattle, but also sometimes reported as glass breaking. Serious sound of breath in the microphone (from "Ffffirst time"). 2:25-2:27 Paul high-harmonises "nobody ever really done me", but so faintly it is hardly heard. 3:22 When John is winding up the last chorus, he sings "Can you dig it?" slightly off-mic. This was the refrain for another Lennon song recorded earlier the same month, January of 1969, which appears in edited-down form on Let It Be as "Dig It". "Can you dig it?" was edited out of the final Phil Spector cut for "Dig It", so the lyric's only appearance in the whole of The Beatles' commercial catalogue is here.

Don't Pass Me By 0:07 Left channel, someone shouts something, like "Hold up!" 1:48 Most strangely, an alarm bell goes off in the middle of "unfair" (right channel). 2:39-2:48 Someone (likely Ringo) sings out the beats from one to eight, and then shouts "ooop" (right channel). At the same time John says (left channel) "Give it some more!" (Level ? More of the song ?) 2:54-3:23 The structure of the last chorus is slightly different to the others. Max Mismetti notes that at least part of this is because of a mistake (anomaly!). On Anthology 2, I found the answer! Apparently, Ringo recorded the basic track and forgot the order of events on the end, or he made a mistake on the basic track and wasn't feeling like recording it all over again. So he sang normally as if the mistake hadn't happened, but on Anthology we can hear the piano better. The song chords are C, F and G. The mistake can be seen because the piano has its chord change delayed 1/4 of bar (between brackets is where it was supposed to be) C(correct) Don't pass me by, don't make me cry don't make me blue (F) F Cause you know darling I love only you (C) C You'll never know it hurts me so How I hate to see you go... G (corrected!) Don't pass me by That's why he sings differently "know it hurts me so" and makes a lot of noise with his drums. It's to disguise that F chord that is still on. You can hear on the White Album too, but on the Anthology 2 is better. 3:24-3:50 Lots of fiddle harmonics. Also noted in other places in the song. "No one uses fiddle harmonics" claims one contributor. I can hear why. Ugh. Andrew Lubman writes I think that it's just a case of bad playing technique that results in these unintentional artificial harmonics. Also, the fiddle parts are different in the

mono version (if I remember correctly).

Do You Want To Know A Secret? 0:39 George sings a wrong note and quickly corrects it on the first "oo-oo-oo". 0:42 Lead vocal quality seems to change here, as if a new take has been used, or as if there's a vocal drop-in here. 1:02 Slight tape dropout here. 1:09 George sings "I've known a secret for the week or two" as opposed to the more sensible "the secret for a". 1:11, also 1:49-1:54 Bass guitar plays wrong notes here and there. 1:29 "Do you promise not to tell, adh (doo-dah-doo)" Was George about to sing "A Doo Dah Doo" by mistake? (Also reported as someone answering "I do".) 1:51 Reported as a bass trombone note, there is one very bad buzzy note in the guitar work here.

Drive My Car 0:16 Click (right channel), not audible on mono version. 0:20 Harsh edit, right channel, as piano comes in. 0:44 Guitar fret-squeak sound, right channel. 0:52 Strange 'peep' (on the right channel) as the piano comes back in. Not on mono version. Probably from George's guitar. Also George Martin hits one note too many, making a duff chord on the second chord of this chorus fill (the chord that comes on the downbeat). Quickly corrects it, though. 1:20-1:22 Paul? sings "You ... can ... drive my ... car" along to the last few notes of guitar solo. Listen carefully, the last 3 notes of the solo are on top of the words "Drive My Car". Very hard to hear on CD version, this needs the vinyl version. 1:42-1:53 Centre of stereo field, right after "start right away" and each subsequent vocal line there are a number of stray guitar notes, as if the guitarist is idling, unaware they are being heard! 1:46 Paul fluffs the bass riff and plays a "safe" note instead. Anomalies E Eleanor Rigby 0:14 The double tracking is not brought down fast enough after the end of the second "Ahhh, look at all the lonely people" (in the introduction). It continues

until the second syllable of "Eleanor". The bad mixing of the double tracking continues throughout the rest of the song, every time there is a transition from single to double or vice versa, except at 0:46, for "Father McKenzie". Fixed in Yellow Submarine remastered version. 1:19 Right channel, "lo" of "lonely" is sung on the wrong note. Fixed in Yellow Submarine remastered version. 1:29 Left channel, click. Fixed in Yellow Submarine remastered version.

Everybody's Got Something To Hide Except Me And My Monkey 0:08 An edit which joins the intro to the main song. 0:30 High pitched sound, maybe feedback or a harmonic on the right hand guitar, under the word "to". 0:32 Sounds like "... 'cept for me and my Monty"! 0:49 Left channel, a voice shouts "C'mon!" 0:52,0:54 Same voice, "C'mon" just ahead of John, twice. 0:59-1:07 Various shouts "whoop" "hee-ee-ee" etc. (left channel, moving to centre). These recur around 1:30, and other places. It's quite a wild and enthusiastic backing. 1:00-1:01 Bass flub, uncertainty over what bit we're playing here! Neatly slid out of. 1:16 After John's "Woo", but before guitar comes back in, faint sound of the tubular bell, left side, being caught. 1:18-1:19 A couple of random clicks or claps, centre. 2:09 A random tap of the snare. Perhaps Ringo thought this part of the riff was over, and was about to start the next section. I suspect that 2:09-2:12 could be a "patch" stuck over a problem, and that the drum tap is sticking out just ahead of the edit.

Every Little Thing 0:00-0:03 Someone whistles along to guitar intro, not audible on mono CD. Pounding sound, just once, during riff. Sounds like a bass drum clonk, also a handclap either side. This sounds like a partial count-in remnant. 1:27 Reported as a clatter of a music stand falling, this is in fact just a very hard "chug-a-chug" acoustic guitar strum. Anomalies F Fixing A Hole 0:34 Paul's voice cracks a little during "will go". 0:42

At the tail end of the guitar sound, sounds like a long slide down the frets (a sort of "purrrr" sound). 1:06 Click, slightly left of centre. 1:32 Click, right channel, as guitar ends. 2:09-2:13 Bass guitar mishap. 2:11 Listen! In OOPS only, the vocal leakage goes "gets in, stops stops my mind". Somewhere over to the left there is leakage of a previous/guide vocal, where the phrasing was different, because the double-track lead doesn't cause this.

Flying 0:14-0:30 Faint maracas on right, before they join in proper at 0:31. 0:18-0:21,0:29-0:31 George can be heard tapping along in time, between guitar passages ("Knock-a knock-a ...").

For You Blue 0:00 Listen! Introduced with John saying "Queen says 'No' to pot smoking FBI members". It is curious, in that this was edited in here deliberately. 2:00-2:02 A faint guide vocal can be heard to the left on "hope you feel it too", slightly ahead of the beat.

For No One 0:58.5 Reports indicate that in the horn solo, a possible punch-in occurs. A glitch in the sustained tone before the final flourish gives it away. However, it has been strongly suggested that this was a playing technique of the hornist, as it also happens in the Give My Regards To Broadstreet version. It is further observed by Ugo Coppola, that In The Complete Beatles Chronicle, Lewisohn says that the hornist, Alan Civil , recorded the whole solo eight times, wiping over the tape with every try. No punch-ins or edits. Chris Chardi adds The noise you hear in the middle of the french horn solo may be due to a technique called "circular breathing." It is used by brass and woodwind players so that they can play long lines more fluidly without having to stop and take a giant breath. Given the peerless fluidity of Alan Civil's solo, I think it's very likely that this is what happened. 1:31 Reported as "track volume goes down a notch", I can only assume this is because the bass guitar sound becomes thinner. It loses the low-end punch from here, just slightly, all the way to the end of the track.

From Me To You

Whole Song Ringo's kick drum pedal squeaks (left channel in stereo versions). Obvious around 0:50-0:55 and 1:32-1:34 in mono version. 0:28 John sings "So call on me", Paul sings "Just call on me". 1:43 to end Bad edit, this is only in the Capitol "Beatles 1962-1966" album. The harmonica goes out of time, and the vocals suddenly double track (left channel). Anomalies G Get Back Most of this applies to the "Let It Be" version, especially timings. 0:00-0:20 (Let It Be only). Introduced by John's "Sweet Loretta Fart she thought she was a cleaner, but she was a frying pan". There is also Paul singing "Rosetta...", John's "The picker ... picks for the fingers, great!" and a quiet "1-2-1234" count in, a "Get in!" and a "Level John!" According to two reports, "picks for the fingers" is in fact "Picture the fingers going". John is apparently motioning with his hands at this point on bootleg videos of the rooftop concert, although another report states that this chatter is from a studio recording (January 27th), and so what is visible in the rooftop video at this point is of no consequence. It is more likely John was talking about/asking for a plectrum (a pick), to save his fingers. 1:19 (Let It Be, 1:00 on PM2) Lead guitar (left channel) breaks up, when both John and Paul sing "Get back ... belonged". 2:31 (PM2 only) In the quiet break, after "once belong", and just before Paul's "oooh", someone speaks. It sounds like maybe George saying "Let's give him some Night Nurse" - Night Nurse being a cough/cold remedy. Paul's voice does sound a bit odd on this track, maybe they were joking about it! Also reported as "It's giving him some nightmuures" (Liverpool pronunciation of nightmares), and "Let's give it some might, guys". 2:55 (Let It Be only) Outroduced with a policeman (from the "on the roof" session) saying "I'm afraid it's just too long", telling them to wind up the gig. This is edited on from the rooftop performance, as is Paul's "Thanks Mo!" (to Maureen Starkey), and John's "I'd like to thank you on behalf of the group and ourselves, and I hope we passed the audition".

Getting Better 0:00-0:02 Someone gives a count in for the vocals. Other talking evident on left channel. 0:13 The word "teachers" has a double-track sound to it, as if an overlapped edit was performed. I'm sure Paul can't sing two notes at once like this! Listen for a lower vocal note than the one Paul sings, on the first syllable... 0:21 Distortion on the word "up". 0:28 More audible on right channel, edit in the word "Bett/ter". 0:34 Right channel, someone shouts "Better" under Paul's vocals. 0:43-0:44

Right channel, rising whistle, and a click. 0:56 1:04 1:05 1:07 Paul makes a verbal slip, "And you're doing the best that I can". Odd sound (same as 1:26). Centre, loud click.

Electric piano and cymbal/hi-hat do a "double skip", left side, as if it's a faulty edit. Doesn't sound intentional. 1:10 "Shhh ..." or intake of breath, right channel. 1:21, 1:26, 1:33 Sound (right channel). Coming from the guitar, possibly a faulty amplifier/cable, or maybe a very scratchy picking action!

Girl 0:24, 0:54, 1:24, 1:54, 2:25 William Newman writes After the word "girl" is sung in the chorus, there's a breathy sound. This sound is John smoking a joint. The sound varies and sometimes he's really gettin' down on it. Well, it beats the usual explanation of John expressing his angst over this girl he's singing about! I'm not sure how accurate it is, though! 0:09, 0:37, 0:49 There is leakage of an acoustic guitar or bouzouki on the right channel. The instrument is not actually being used in the mix at this point. It's probably coming through with John's vocal, after the line "girl who came to stay" (0:09), and "to cry ..." (0:37), and "why ..." (0:49) 0:59 Right channel, someone (John?) coaches "tit tit tit" for the backing vocal. 1:30-1:50 In addition to the bouzouki line here, there is leakage of a harmony bouzouki line (as found at the end, 2:00-onwards, placed in the left channel). The harmony line is playing twice as many notes, and sticks out over the main bouzouki line. Maybe it was recorded both times, but mixed out later. Not as clear on CD, this has been fixed. 1:54 A few quiet bouzouki notes, right channel. Also reported as piano notes (there is no piano on this track), or sound of a guitar being put down or picked up.

Glass Onion 0:00 John sniffs loudly! 0:05-0:06 After the line "told you 'bout Strawberry Fields", someone sings "for evah" in the background. 0:51-0:52 Two clicks, one during "yeah", one after. 1:00 "Oh" in a high pitched voice during the gap. 1:19 Piano chord cuts off abruptly just before the drum taps, highlighting the

edited-together nature of this song! Maybe this is to delete a sound effect: See the Anthology version where there is a pinging bell at this point in the track. 1:26 David Vegafria writes The bass line in Glass Onion is very syncopated - it also is pretty rigid, he maintains the point where he starts, and never skips a beat that should be emphasized. At 1:25 he skips a full beat at the beginning of "I tell you man..." after listening to the song several times, I can't find an instance of a pause that long that isn't *obviously* supposed to be there. 1:38 Edit in right channel, affecting drums (at the point where the crash cymbal suddenly appears). 1:45 After "dovetail joint, yeah" someone shouts "hey!" 1:49 Left channel, a click from the bass guitar. This is an edit to the end piece. 2:16 Some reports say that the tape is slowing down at the end of the song, but I have a horrible feeling that it was actually played this way. The very very last second (almost inaudible without processing) may be a tape machine being switched off, but I'm not convinced.

Golden Slumbers 1:23 Click, centred, but more audible listening to the right channel only. It's during the word "Darling".

Good Day Sunshine 0:04,0:07 "Taps and cymbals" track (right side) come in suddenly, rather than a complete fade-in. 0:23-0:24 Piano riff drops out. 0:52 Low frequency bump - "the sun is shining down [bump] burns my ..." 1:19 Right channel, a click, right after the more audible clap. 1:26 Someone (John? Ringo?) quietly repeats "She feels good" This appears to trigger something closely approximating a chuckle from Paul in the next line. Listening closely on the CD, it sounds like Ringo or John saying "She f**ing does" or "She feels nice". The last word is definitely not "good", it ends in an "esss" sound. Also heard by David Gulczynski. John Sinclair refers to the version on "Give My Regards To Broad Street" and says "that it is 'she feels good' repeated." On Paul McCartney's Get Back video (1990 tour), a live version is performed, where he sings the second "she feels good" very clearly, showing the intention to repeat the line. So maybe he laughed because the line was meant to be repeated, but in fact on this recording, it became twisted into something new? 1:33 Bad edit or stumble in the piano track totally drops out (right channel). 1:58

Cut to four vocal tracks is very abrupt, the piano drops out completely. Loud "swish" at edit point.

Good Morning Good Morning Whole Song Throughout the song, the right channel contains soft drum beats, ostensibly used to direct the brass instruments. There are also hand claps. 0:06 "Hah!" (left channel) 0:16 Edit in the vocals, made audible by a cut off deep breath and a subtle change in the quality of the vocal. 0:23 Hiss sound, right channel, under the words "to do". 0:30-0:32 Two shouts, left channel, under main vocals. Maybe misplaced "Good Morning" guide vocals. 0:53 Someone grunts after the sax stops playing (right channel). 1:55 More slightly misplaced "Good Morning" guide vocals, centred. 2:25 Reported as someone (John?) yelling "Lookout Lookout!" when the horses run by. This is actually John shouting "Go on, Gidyup, Yah!" to gee up the horses. 2:33 Where the "Good Morning" vocals fade out, there is an audible click as the vocals and brass stop. Just before this a voice, very quiet, says "Turn it off" (right channel). Not present in the mono version.

Good Night 0:21,0:28,0:42,0:58 and too many others to list Clicks in centre of stereo field. 2:04-2:11 Ringo sings "Close your eyes and I'll close mine", but the backing sings "Now it's time to say Good Night", elsewhere the vocals match correctly. It has been suggested that this is intentional. Ugo Coppola writes This is Ugo from Italy ... in reference to your Good Night (White Album) note ... I don't think that's an anomaly at all. I think it's intentional. Here in Italy there are lots of singers who sing something over a choir or some backing vocalists who sing something else on the same melody, especially in ballads or melodic songs in general. Umberto Tozzi, Raf, Laura Pausini, Claudio Baglioni and Lucio Battisti all do this. Also Buddy Holly's "That Will Be The Day" (backing continues "That'll be the day" while lead sings "Say You're Gonna Leave"). 2:36 When Ringo sings "Dream sweet dreams for me", his voice cracks on "for". 3:09-3:11 Really hard to hear, there's a metallic "ting", and a voice, and a creak remaining in the fadeout.

Got To Get You Into My Life 0:01 to 0:06

Talking (John/Ringo?) during the intro, left channel. There are five words audible, but it's not clear enough to be a regular count in. They occur between the beats. 0:37 Odd pop sound in Paul's vocal on the word "didn't [lie]". 0:40-1:00, 1:28-1:38 Left side, distorted guitar sound plays horn riff after "find THERE ..." and in "OOH, then I suddenly" the guitar sound plays chord voicings on beats 2 and 4. Maybe before the brass was added, these parts were carried by guitars, and this is the remants breaking through as leakage. 1:45 Strange guitar sound (centre). 1:49 New guitar sound appears from nowhere, possible edit? 2:07 Leakage of tremolo guitar (right side) that was edited out. 2:10 Possible edit to the whole take, the vocals and brass seem to have more presence. It's also noted by a couple of contributors that John's organ part and Paul's bass note stick on the chord (and note) G, yet the brass part keeps going from G to F. The engineer fades this organ part out at 2:16 to 2:19 to hide the mistake. I don't believe this to be a mistake in chord structure: It was intended, I'm sure. Note that Paul holds the G-G-G-G-DG-G-G-G bass pattern over F chords in the early part of the song. There's nothing wrong with overlaying F and G in that way. That does leave the question of where the organ went ... Anomalies H Happiness Is A Warm Gun 0:43 Chewing/mouth noises, centre. 0:57 The engineer mixing this song brought up a track too quickly. Originally John sang the "I need a fix" section twice, but the first was supposed to be left out in the release (replaced by a guitar). The end of the first "down" ended up on the master by accident. Not present in mono mixes. 1:34 High pitched titter from the "female" backing voices. Caught unawares by an early drop-in? This has been attributed to John saying "shoot" or "sh*t". 1:47 "When I Hold You..." The tempo changes into something like 6/8 here, but Ringo continues in 4/4. Not sure how this happened. Two possibilities - they were doing something clever with arrangements by overlaying 2 rhythms. Or, at the time the drums were recorded, they intended it to be in 4/4 and changed their minds later. It's clever. There's a Queen song "The Miracle" where the song ends and goes into a guitar/bass/drums solo fade out, and a piece fades in over this at a different tempo and knits at key points (especially the start and end) so that it transits to a slower tempo without you really noticing. In the light of the "Mother superior" bit, which has an odd beat pattern of 3 6 3 7 3 6 3 7 3 6 3 7 beats, it may be intentional. Max Mismetti mentions that John did this sort of thing on a few occasions. Examples include Anthology ("Remember" - starts singing at an odd time measure), also Across The Universe (various takes, starting in odd places, running into verses without the expected pause).

2:21 Listen! Print-through of the word "Gun" a split second before you hear it at full volume.

Hello Goodbye 1:15-1:16,1:30 Handclaps, which seem to mark out the start and end of the solo area. 1:54-1:55 Right channel - a clicky sound as John and George's voices are punched in, possibly from the echo unit. 2:05 Right channel - someone hits something, viz. "I can stay 'til it's time to go [BANG clatter]". Also background hiss reduces as the vocals are taken away here. Throughout 1:54-2:05, headphone leakage of other instruments increases with the new vocal tracks being added.

Help 0:20 0:26

Double tracking timing error on word "way".

Shout, just before backing vocal sings "find", easier to hear on right channel of the stereo version. The mono version has the intro spliced on. The vocals differ between the mono and stereo mixes. Danny Caccavo adds this Here's more about the mono mix. Whenever you hear the guitar run, there's an edit which cuts out the band hangover (cymbals) and the thumping on John's acoustic guitar. "Won't you (edit) please, please help (edit) me". On the second edit, the band returns, and the guitar run stops suddenly. These edits are not (unfortunately) on the stereo mix. They are quite effective on the mono. Also at the end on the mono mix, there are three "Help Me"'s. Note that the second one is "Help" (Paul/George) and "Me" (John). On the stereo, John's voice is double tracked, so you lose the back and forth effect (highlighted in the film "Help" - note how it is edited back and forth) Glenn Koury also notes The anomaly is in the tempo of one phrase in the first verse. The line is "Now I find I'VE CHANGED MY MIND". In the single version of the song, the tempo of the vocal phrase I'VE CHANGED MY MIND is evenly spaced, with MIND coming right at the downbeat (actually, a 16th beat before). In the album version, the phrase is double-timed, with MIND arriving on the upbeat. Also, in the album version, the phrase is repeated at the END of the song, and there, it is the slower, evenly-paced tempo like the single version (and thus inconsistent with the same line at the beginning of the album).

Helter Skelter 0:00 On the first note of the riff (after the guitar slide down) there is a definite fault in the track that sounds like a CD-copying error. Looking closely there are a bunch of "noisy" samples in the left track only, followed by a bunch in the right track. This has been reported from a couple of people, and would

seem to be some kind of digital mastering error. 0:02-0:03 Right channel, you can hear two faint taps that count in the vocal. 0:03, 0:05 Stray noise, twice the same sound, may be guitar, may be vocal. 0:18 Paul laughs the "Do you ..." (probably still got the giggles from the previous "Yeah yeah yeah ahaha ...") 0:46-0:48 The reverb on Paul's voice drops out completely, his voice sounds much smaller for this one line. 0:50 Glasses or a bottle rattles for about two seconds, right channel. 1:24-1:25 Again reverb disappears on Paul's voice for one line. 1:31, 1:34, 1:38-1:46 Squeaks, sounds like a child's toy. It may be a manipulated vocal. 2:15-2:19 Paul's vocal moves around the stereo image, panning slightly left. 2:24-2:25 Again the reverb disappears on Paul's voice for one line. Were these punch-ins to fix an errant "Helter Skelter", and no reverb was applied (to make editing in and out easier) ? 2:44 Paul sings "Yes she is, coming down fast" and then (closer to the mic at 2:49) "Can you hear me speaking? Whoooo". 2:57-3:09 Listen! Paul says "Listen, shall we hear that, see if the [sings] eeee's onnn...", and then says (3:04) "Are you coming, son? I saw you do that you little bugger... (3:08) Put yer bloody hands on your head, c'mon". Hard to hear, again OOPS helps to remove the loud guitar part that masks this. There's also quite a bit of clicking and scratching in the track here. The famous "blistery shout" (Listen!) is preceded by John's voice asking "How's that?". The shout itself is from Ringo. This section is missing from mono mixes. Popular folklore says that this shout is because Ringo had drummed for 27 minutes on this take, and that what we hear on the White Album is a condensed version. It seems this is not quite true. JWB writes to tell me The 27 minute take was a completely different version (another take of this version is on Anthology 3) that was never released. The White Album version was only about 5 minutes but they did several takes. The 27 min take (takes 1-3) were July 1968, the remake session was September 1968 (takes 4-21). Take 21 is the version found on the White Album. I guess the blisters were from 18 takes of 3-4 minutes each. Take 21 was considered best and work progressed from there.

Here Comes The Sun 0:13-0:15 Previously listed as "George hits the guitar body to mark the unplayed beats, a la Help!" Stephen Moss suggests The time tapping noted here is more likely George's foot. Listen to how closely that guitar is mic'd. Were George to beat out the pauses on the guitar body, it'd be much louder. Tony Cox suggests I think the "tapping" at the end of the intro to Here Comes The Sun is down to

perhaps a George Martin oversight (!!) rather than GH. I think the tapping comes from a metronome which can be barely heard during the intro. This gets louder at the end of the solo when the compressor on the guitar mic starts to increase its gain as the last few notes played are fading away. 0:15 I'm fairly sure the start of the strings section is too abrupt, and that this is an edit/punch in. 0:19,0:35 Soft, then louder clunks against the body of the guitar. (Left channel). 2:23 The vocal comes out as "It seels like years since it's been clear". Previous verses are "feels/here", "seems/here", and there seems to be some doubt as to what word came there!

Here There And Everywhere 0:10 Left channel, there is an edit between the intro piece and "Here", the tape drop out gives this away. 0:13 Left channel, a finger snap where one was not supposed to be! 0:19 Listening to the right channel only, the phrase "changing / my life" has two different sounds. Edit between two takes? 0:57 Serious fret squeak, right channel. 1:06 At the end of guitar section, under the word "her", is a 'fwip' in the right channel. 1:10,1:45 Listen! Between the words "everywhere" and "knowing that love..." is an audible 'fwip' of a punch-in, this time on the left channel. 1:35-1:41 Left voice seems to fade out during "care" and return a few words later. 1:59 Finger clicking drops out for exactly one beat. 2:12 Guitar goes to wrong beat - it had been playing chopped chords on beats 2 and 4, but goes to 1 and 4 momentarily!

Her Majesty 0:03 Listen! Left channel. Various reports that either :A female, vibrato voice sings a note. A sped up male voice sings a note. A Moog synthesizer note trails off from "the loud chord". Or possibly a cartoon "boing" sound effect happens.

Hey Bulldog 0:00-0:05, 0:08-0:11 Right channel, clicks of drum sticks. Also snares on drum kit rattling in sympathy with the rest of the guitars etc. Also you can hear John/Paul "ruff"ing along as a count in. Partly fixed on remastered Yellow Submarine version.

0:52-1:04, 1:52-2:04, 2:22-2:32 Some people note strange sounds in here such as "Paul heavy breathing", "John breathing hard" etc. However this is the sound of the snare through a delayed reverb, and is intentional. "Thwack-ahhhhh". 1:04 Sharp edit in the guitar track, to put solo in?, cutting in after "talk to me" and apparently ending at 1:32 in a click. 1:13-1:31 I've received reports of shouting and talking here, but I'm sure these are intentional. Running around chasing dogs/being chased by dogs etc. 1:32-1:33 Left channel, a click, then someone "Whoops", as Lennon sings "Big Man", and in the left channel Ringo shouts "Yeah?" 2:33-3:04 The book "The Beatles Lyrics" has the words wrong to the ending. Most interestingly, they don't include all of the John/Paul dialogue J+P) "Hey Bulldog ..." P) "Hey man" J) "What's that, [boy/Paul]?" P) "Ruff!" J) "Whaddya say?" P) "I say, ruff!" J) "You know any more?" P) "Wowowowwwaaaaa" J) Screams loudly P) "You got it, that's it, you hit it, that's it man, Woop!, that's it you got it" J) Screams hysterically P) "Don't look at me man, I already have ten children" [also heard as grandchildren] J) Screams hysterically P) "[Clap man, clap / Quiet boy, quiet]" [unclear] J) "Okay" P) "[Clap! / Quiet!]" [unclear] These last couple of lines ("Clap man, clap") are obviously Paul's voice, however the Yellow Submarine animation shows John singing them. Animator's error? 3:06 Total drop out in right channel. Some people report that this is fixed on remastered Yellow Submarine versions, others still hear it! Seems to be a reaction to Ringo's snare (maybe a limiter kicked in to hold back the signal).

Hey Jude 0:06 Centre - someone rattles a tambourine. 0:21-0:22 Strange vocal noises during singing, almost like swallowing while singing (clever!) This has been picked up as "more tambourine rattling". True, there is more tambourine rattling just after "start", which wasn't listed. But the vocal anomaly above is during "make it". Might be some strange effect of Paul's throat being picked up by the mic. 2:12-2:15 George plays his riff that doubles the "Da da da daaa daaa" phrase here this shouldn't happen until the end of the verse. George stops short of completing the riff.

2:17 Right channel, a high voice (female? Paul's falsetto?) talking - sounds like "Love You" - on the words "Just You". This may be Paul's vocal coming through from the piano track. 2:52-3:02. 2:58 mostly Listen! This is Mark Lewisohn's "Recording Sessions" non-specific reference to an "undeleted expletive". As Paul and John sing "Remember to let her under your skin", John shouts "Got the wrong chord!", (maybe in response to the clunky dead chord at 2:53-2:55) the last word sticks out more than the previous three, and then swears. If you count out loud 1-2-3-4 in time to the rhythm through this section, you get :1 2 3 4 1 2 3 4 1 P/J: skin Then You Be Gi - In J: Got the wrong chord F**king HellMichael Patrick observes that George lets out an unchoreographed "aah" at this point, this may well be him hearing the word "chord". However, just after "begin" (to make it better) at 3:00 there is some form of edit, which causes a noticeable brightening of the left channel. Maybe there is a mistake in the instrumental here too, which was hidden by the edit? Expletive also heard as "Need some help", "Ok Now", "Take it out" and many others. As an alternative, but probably less accurate, explanation wa3dhb@bellatlantic.net adds I found this bit of info on whitealbum.cjb.net. The person who says "F*cking hell" in Hey Jude is John Perry from the group Grapefruit. He says he came into the studio, and Paul told him to put on headphones and do backup. He did, and the headphones were on very loud, so he shouted "F*cking hell!" I find this hard to believe, as it doesn't explain why John Perry "Got the wrong chord!" Maybe he was heckling John for getting the chords wrong. I also find it amazing that people can wander in and out of the studio during a take, and are unprofessional enough to potentially spoil a take by behaving like that. He won't be invited back! No, I'm not buying that one ... 3:12-3:58 Right channel, lots of shouting from Paul, all very much off microphone for quite a while before it is mixed in to the centre at full volume. "Make it [better]" (3:15), lines about "making it, not breaking it" (3:20,3:36) poke through, but they are all quite hard to hear. 4:30 Non-anomaly - often being reported as "Don't f**k about Jude". This is really "Don't make it bad Jude". 5:37 Similarly, this is not "What the f**k Jude?" (many reports) or "Hey look at that you idiot!" or even "play a bit of that tune", "maybe we'll go back to England" (had this one twice) but just simply "The pain won't come back Jude". However, on the foreign language anomaly front, V Lichere writes Sounds exactly, with the proper accent, like the French "He, on peut partir?" ("Hey, can we leave?") Am I the only one to hear that? Is it possible? 6:52-6:54 Past Masters 2 Version, bass attempts a fancy run, but doesn't do it correctly. Then it hits wrong note repeatedly. Finally, bass is faded out or cut before the track finishes. To spare any further odd anomaly reports, the full text of Paul's amazing shoutings from where it comes in clearly at 3:58 is (approximately) ... (3:58) "Jude Judy Judy Judy Judy Judy.. ow, wahow!" (4:07) "Ow hoo, my my my" (4:12) "Jude Jude Jude Jude Joo-oo ..."

(4:18) "Na na na na na, yeh yeh yeh" (4:24) "Yeah you know you can make it, yeah Jude, you not gotta break it" (4:30) "Don't take it bad Jude" (4:33) "Take a sad song and make it better" (4:36) "Oh Jude, Jude, Hey Jude, woooow" (4:44) "Ooo, Joooode" (4:47) "Yeah" (4:50) "Hey, hey, hey-ya-ay" (4:57) "Hey, hey, hey ..." (5:03)"Now Jude Jude Jude Jude Jude Jude, yeah yeah yeah yeah ..." (5:12) "Woh yeah ye-ah" (5:16) "Ah nanananananana cause I wanna na na na" (5:20) "Nanananana ... nanalalal ow ow ow" (5:35) "Oh God" (5:37) "The pain won't come back Jude" (5:58) (6:03) (6:07) (6:20) (6:29) (6:35) (6:41) (6:47) (6:48) (6:56) "Yeah, eh hehe heh" "Make it through" "Yeyeye Yeah .. yeah y-yeah ... yeah-hahahaha ...." "Goodeveningladiesandgentlemen mymymymy mahhhh" "oooo" "oo-oo" "ooo" "Woooh" "Well then a na-nanan" "Isn't that ..."

Hold Me Tight Throughout Squeaky bass pedal on Ringo's kit, best heard at 0:59-1:12, 1:39-1:50, (use left channel of the stereo version if you have it). 0:03 and 1:12, 1:52 John sings " ... right, so", and yet Paul sings " ... right, now" (comes out in total as "so right, sow hold me"). Although at 1:52 there also seems to be an edit through this piece as well! 0:38 Phrasing of "tonight" as "too-night" and "t'night" varies between the singers. 1:27 John and George's echo of "hold" is disastrous, it sounds like George scooped into John's note. 2:00 John comes in late with his backing vocal, and there's some faint speech, leaving a backing of "night Tonight!" 2:21 Sudden change in the volume on the right channel of the stereo version only.

Honey Don't 0:34 Ringo's voice cracks in "Don't".

Honey Pie 0:01-0:09 Some voices audible, left channel only. 0:35-0:36 Two quiet ticks, and a stray guitar note (centre). 1:30 Two slightly out of tune (1 semitone flat) guitar notes, probably the beginnings of the little solo that we weren't meant to hear. 1:33-1:40 Tape noise (hiss) increases during the guitar solo, especially in the right channel. 1:58 Click, sounds a bit like a "tut" sound, centred. 2:06 Just before "Kindly send", left channel, a voice whoops. 2:21 The word "so" distorts, evidently this is one loud bit that the limiters didn't catch. 2:39 Click, centre, in fadeout. Anomalies I I Am The Walrus 0:04 Orchestra is brought up too early, rattling is heard before they begin to play (right channel). 1:33-1:35 Edit as John comes in with "yellow matter custard". Listen to the Anthology version of this take, John's voice cracked on the last "I'm crying" (hence, after editing, it sounds like "I'm cry"). The first attempt at "Yellow matter custard" also fails. The take was edited to cover this. Listen to the orchestra (right channel) and you can hear the edit clearly. There is also some drum editing. 2:10 Left channel faded up too soon, so organ and tambourine begin before beat. 2:26-2:31,2:35 Various talking reported, this is the very beginning of the recognisable Shakespeare "King Lear" excerpts (see 3:54) Ugo Coppola has been doing his research, so I'll hand over to him I checked Act IV, Scene 6 against the Beatles' recording. It matched perfectly, of course. So now I can positively say that Gloucester says "Now, good sir, wh[at are you?]" and Edgar answers : "[A most] poor man, made tame by fortune['s blows]". Both sentences are also written on page 269 (September 26, 1967) of Lewisohn's Beatles Chronicle, where he explains how the whole thing got into the mix. Michael K. picks up the next lines [Who, by the art of known and feeling sorrows, Am pregnant to] good pity..[Give me your hand, I'll lead you to some biding] "Good pity" is the tiny fragment before "Expert Texpert". In the above, [sections marked like this are inaudible] due to editing. However, on the foreign language anomaly side... Bo Sybrandt Hansen writes Around 2:27 there are some words spoken by a male voice. These words sound like someone in crystal clear Danish language with correct phrasing, intonation and everything is saying "Udmaerket, men kan vi ikke tage den lidt hurtigere?" Translated into English it would be something like

"Quite good, but couldn't we do it a little faster?" or "Alright, but couldn't we try it a little quicker?" This is where the the words occur: If the sun don't come you get a tan from standing in the English rain I am the eggman (Spoken, male voice: [?] sir ) They are the eggmen Spoken, male voice: Udmaerket, men kan vi ikke tage den lidt hurtigere? I am the walrus Goo goo g' joob No matter how much I listen I can make nothing else of the words. Do you have any suggestions? Shakespeare writing crystal clear Danish. Whatever next! Any better offers? 3:34-3:39 Heterodyne whistle from the radio, fading in for the ending. 3:54-4:33 Towards the end, there is talking fading in and out of the mix. It's more sections from Shakespeare's "Tragedy of King Lear" - the scene being read is like this ... times added as a guide Osw. Slave, (3:53) Thou hast slain me:- villain, take my purse. If ever thou wilt thrive, (4:02) bury my body, and give the (4:05) letters which thous findest about me to (4:08) Edmund Earl of Gloster. (4:10) Seek him out upon the British party. :- O, (4:14) Untimely Death! Edg. (4:23) I know thee well, a (4:25) serviceable villain. As duteous to the (4:27) vices of thy mistress as badness would desire. Glo. (4:29) What, is he dead? Edg. (4:31) Sit you down father, rest you. (Ends 4:33) Let's see these pockets, the letters that he speaks of may be my friends.. He's dead. I am only sorry he had no other deaths man. So we have two sections containing Shakespeare in the song. How did this get there? Well, it was being broadcast on the radio at the time of the recording, and got mixed in for effect. They just tuned to a station and - there it was! This was not a planned event, according to evidence in Lewisohn's book. The play was being transmitted on the radio at the time the mixing was being done (compare studio notes with an extract from the Radio Times progam listing magazine), and was added live into the mix. This is the reason the mix slips into fake stereo (mono through delays and filters) if you listen to the stereo version. It would be impossible to exactly duplicate the mix (for the stereo remix) as the Shakespeare was not recorded anywhere but directly into the finished master. Having said that, listen to the Anthology DVD "I Am The Walrus" 5.1 surround mix. The final part of the song is now in true stereo, and elements of King Lear are much clearer than the original. This must have required Apple to get hold of the original broadcast from the BBC, or an independent archive, and remix using the original master tape as a guide. This is something that is only really possible with today's automated mixing technology, and would not have been considered back then. 4:32 The whole track seems to speed up just as it fades away to nothing. Note that Paul Simon is thought to be making reference to this song, in his line "Coo Coo Ca Choo, Mrs. Robinson". If this is true (rather than a coincidence) he wasn't listening to the lyrics hard enough.

I Call Your Name 0:11 Poor edit after "I Call Your Name" and before "but you're not there", making a soft "flump" sound. This is made more obvious by the sudden appearance of a cowbell at this point, three beats late, and also of the sudden, late double tracking of the vocal. 0:47-0:51 George Harrison forgets his guitar figure for the middle-eight here. 1:43 Poor double track in "Oh I can't sleep at night bu/but just the same".

I Don't Want To Spoil The Party 1:04 John comes in late on "want". He had sung the full line like Paul prior to "I don't want to". 2:15 John inserts a spurious "If I" after "I've waited far too long". Maybe he thought the next line was going to be "If she turns up while I'm gone" and converted to "I think I'll take a walk".

I Feel Fine 0:00 Red/Blue Album Capitol remix opens with drumstick clicks, and John saying "It's not enough". 0:05 Listen! Cough and a click sound. Also reported as "an obscenity", and "someone spitting", "something mechanical, e.g. a WahWah pedal", "finger sliding down guitar neck to get to proper chord" and "snares being set on or off the drums". 0:48 Most voices sing "She's so glad", one sounds like they've sung "He's" or "I'm" instead! 0:12-0:14,1:18-1:21 Snares on the drum kit resonate to the sound of the guitar amps, before the drums come in. 2:15 Listen! In the fade out, people report hearing a barking dog. It's not a dog, but Paul freaking out and making woop/woof noises. Very realistic, but no dog!

If I Fell 0:11 On stereo versions only, John's voice is double tracked here, and a timing error occurs between the two copies of "and I". 1:45 Paul's voice cracks on the word "vain". Mono version eliminates this by editing in another chorus, although it is reported that the cracking is still there, I don't hear it on my Mono UK CD. There is a quiver in Paul's voice, but not as bad a problem as that found in the stereo mix.

If I Needed Someone

Whole Song Sounds like George is inhaling on a cigarette throughout this song, listening to the right channel. 0:52 CD Version only - whole track phases (flanges) very slightly. 1:52 CD Version - track phases (flanges) again. Apparently in some versions both of these points have someone singing falsetto harmonies as a guide to the next part coming up. Maybe the phasing is a by-product of removing this for the CD, through overlapped editing-together of takes? 2:08 Squeaky blip noise, just where the second 12-string guitar (to the right) comes in for the end part. 2:18,2:19 Creaking sounds left and right.

I'll Be Back 0:06-0:08 The harmony on "break my heart I'll" is wrong. 1:37 Click after word "to" in "will try to show that" (left channel, stereo mix only). Also, a bass flub at this point. 2:00-2:02 There's a partial fade out on Paul's voice and an almost total fade out on the drums, leaving only John and guitar for a moment! Victor Munoz writes Paul has TWO tracks of harmony on that tune. He does two harmonies over John's low harmony except for when John does his lead vocal segments. Therefore there is no way that Paul's voice could disappear if he has two harmonies going throughout the main verses. Agreed, Paul has a double harmony part, but one or both of Paul's vocal parts go weak at this point, as do the drums.

I'll Cry Instead 0:04 to 1:40 Constant click click click (often thought to be a fault). This is reported as Ringo's ride cymbal but it leads by about 1/32 of a bar ahead of where the beat is conventionally "expected". Also suggested as a metronome. Further reports seem to suggest that this is a double ride cymbal hit - the first being ahead of the beat, sort of "ca-CHINK" - the first is only really audible as a tick. The explanation comes from Stephen Moss I've been thinking long and hard about the noise in "I'll Cry Instead" for some time, and the noise is definitely the playing of the ride cymbal. When I began to write this, I was in fact going to suggest otherwise (spoons, or rockabilly-style sticks on the drum rim), but an extremely critical listen has shown me the light (and a number of other thing in the track, some of which are likely not-quite anomalies, and some of which augment existing anomalies). If you listen to the song, percussion wise, the tambourine is the most prominent instrument. Behind that, there's a simple beat on the snare, and a subtle ride cymbal wash. Ringo's playing a jazz pattern on the ride: Consider a 4/4 count... 1 - - 2 - - 3 - - 4 - - |

R

R R R R R R S SRingo's playing a straight snare beat on the 2 and 4, but the ride pattern has a double attack that dances into the 1 and 3 (with the second attack falling on the beat). This becomes most obvious at 1:04: "Show you what your lovin' man can do"... Ringo hits the ride harder, almost as one would strike a crash cymbal, and quickly hand-mutes the cymbal, grabbing it to silence it. You can clearly hear the stick, louder than before, on the attack. 0:38 Dropped tambourine noise! 0:48 Double tracking error "I'm gonna lock myself" vs "I'm gonna hide myself". 1:10 Edit, and the rhythm guitar drops out in mid strum. This is between "cry" and "instead". It is suggested by Stephen Moss that his dual-voiced part on "cry" is not tight at all, especially compared to previous examples in the track. It almost sounds like he's about to run into difficulty singing at all. (Reference the "I'm crying" bridge in the Anthology version of I Am The Walrus... Does he just have issues with the word 'cry'?) At the cut, on "instead" suddenly the vocal snaps back into line. 1:12-1:21 George is having problems with the lead guitar. Note how low he is mixed, compared with the first bridge at 0:45. Critical listening shows that he's fumbling some of the runs, and is only mixed back in clearly when the playing improves. 1:37 John makes a double-tracking error, between "But 'til then" and "Until then", leaving an unclear "Guhtil then ..."

I'll Follow The Sun 0:50-0:52,1:36 Feedback in guitar track. 0:55 In the word "so", Paul's voice seems to double track on two slightly different notes. Edit to correct a pitching error?

I'll Get You 0:09 Ringo's kick drum pedal makes a mighty squeak on "imagine". 0:32 Harmonica plays the wrong note (one semitone flat), and quickly corrects. 1:10 John (low harmony) sings "Well, there's gonna be a time when I'm gonna make you mine". Paul (high harmony) sings "Well, there's gonna be a time when I'm gonna change your mind". George is doing a middle harmony, it's hard to tell who he's siding with on this one. 1:17 Here, George's middle vocal sings: "So I might as well resign yourself to me".

I'm Down 0:43-0:58 Although not credited as having a double track guitar, the second lead is heard low in the mix (centred) doing a different solo, along with a second drum track. 1:28-1:31 Right side, ticking of John's nails on the keys as he flies through the notes!

I'm Happy Just To Dance With You 1:01 On stereo version only, spoken words (sounds like a repeat of the word "place"?) 1:53 Squeak in fadeout.

I'm Looking Through You 0:04 Paul tries out the start of the song "Where did you go?, Where did you go?" (Vinyl version only, not on CD). 0:15 Feedback on the acoustic guitar (left). 1:01,1:04 Handclaps go all out of time and stop. 1:05,1:43 Edit in the phrase "Love ha/as a nasty habit". Second time is much more subtle. 1:18 On the down-beat of "were above me But not today" there is a loud guitar feedback/harmonic (left of centre). 1:20 Sounds like the dropping of a tambourine. 1:34, 2:16-2:19 One of the organ stabs moves to the centre of stereo (from the right) for no real reason. Same again at 2:16-2:19, but more random in nature. 1:35 Talking. 1:39 Out of place guitar notes, actually these occur in a few places. 1:41-1:42 Two clicks (centre). 1:52-1:54 George plays various out of tune notes, right channel. This happens in a few places (not the cleanest of guitar tracks!) but here is worst. 1:58 Ringo misses the snare! Actually, from 1:50 to 1:58 Ringo seems to be moving his position, as the snares change sound each time, one time he hits the rim only (1:54), before missing this beat totally. 2:19-end George either gets bored with the riff, or becomes distracted, as he plays random notes into the fadeout (right). Also note that on the American stereo LPs there are two false starts not counted above. The first is about 1 beat, and the second three or four beats.

David L Fairey has a wild theory on why this track is like this. See if you agree ... My main argument surrounds the recording of the Rubber Soul track I'm Looking Through You, possibly one of the messiest recordings the Beatles made. It is rushed, terribly recorded and not particularly played well. Thus, I have a theory... I believe, contrary to all other reports (including Lewisohn and Macdonald) that this could be a solo Paul recording. After all it was his song and quite a personal subject for him. The drumming is awful, with a noticeable rimshot being missed, no bass drum [MB: untrue, it's there, flumping away!] or hats and cymbals. Sounds like the old patting-the-knees percussion to me, recorded on top of a snare to keep time. The guitars sound out of tune and sound like Paul's style of play, especially at the end. George was always a more organised guitarist and I can't see him committing this to tape when the Beatles where at their height! The guitar sound is also Paul, maybe his Epiphone Casino? The tambourine work is poor also and the organ stabs should have been heavily compressed. In fact, the best input is the acoustic - capo'd? - guitar most audible at the start of the song. Whatever, it's a messy recording, especially when compared to other Rubber Soul tracks which are well played and nicely produced. I don't have the date at hand when it was recorded but I'd guess it was one of the last songs recorded for the album. I do know however that Paul had had the main part of the song for some time. Was it dusted down, quickly recorded to complete the album? Anyway, my main point is that it sounds like a song in which neither Ringo or George (and probably John) contributed. Well, according to Lewisohn's Recording Sessions, "I'm Looking Through You" was almost the last track recorded. This version was recorded on the 10th and 11th November, 1965. 11th November is described as a marathon recording session. Final remixing was done on the 15th November. So yes, there was a deadline looming very hard. Also, Lewisohn's Recording Sessions states that there was an initial attempt to record a backing for this song on 24th October. No list of who was present, or who-played-what is given. Interesting. On the 6th November, a re-make was performed of this track, described as "too fast and frenetic". Again, no details of performance credits. "Verrrry interesting" as they say. 10th November, it was "finally made in a way that pleased everyone". Were the others even present? Could it be that this recording pleased Paul as it was completed to his satisfaction, and the others were pleased, because the thing was finished without them having to do it again with deadlines looming! The album sleeve credits Ringo as playing a Hammond organ on the song, "but it cannot be heard on the recording, nor is the instrument detailed on the tape box" (Lewisohn again). In which case, what are those loud stabs on the organ? Evidently the tape box is not accurate either, as there is an organ there. As a "conspiracy theory" it's an interesting idea, and I wonder how many other tracks might fall into this category. Suggestions on a postcard, or e-mail ...

I'm Only Sleeping 0:35 Click (right channel) just before the lead vocal comes in. 0:40 Paul plays a rather sharp bass note, quickly followed by the correct note, just under the words "I don't". 1:08 Three clicks just after "...sleeping". Sounds like someone is snapping

fingers to measure out bars. You can also hear the leakage of a backwards guitar. Best heard using OOPS. 1:57 Voice says "Yawn Paul", and at 2:01, he does!

I'm So Tired 0:37 Sounds like a brief distant guitar sound (centred). 0:48, 0:51, 0:54, 0:58, 1:30, 1:33, 1:36, 1:40 Strange drum/guitar/vocal sound, like a falling "whoosh", or a laboured breath. Occurs right after every line of the chorus, on the 3rd beat. One suggestion is that it's a distorted guitar, hammering out a chord and then allowing it to fall down the fretboard, and this is mixed very low or bled over from another track. 1:07 Under the word "so" in "I'm so tired" there is a strange vocal/instrument sound. 1:58 Listen! Lennon gibberish. This is not backwards. Renditions such as "M'sieur M'sieur, How about another?" seem to be reading in sounds that are just not there in an attempt to force it to make sense. It's nonsense speak. It's pure John Lennon. Also rendered by Iain Tacey as "missya, missya, how 'bout dinner huh? ..... Julian?" To which the very last sound appears to be a child's voice which is immediately cut. (Remember Julian would have been 5 years old then and was around John and Yoko at that time , as pictures show). The child's voice (I guess) being the "pleh". The nearest I can transcribe phonetically is "Lissum, Blussak a mizure, habuts-an-oh'en. Tidja tidja tuplay, pleh!". The final "pleh?" is often translocated onto the beginning of Blackbird due to a mastering error when making the CD. At a stretch, I can also get "Listen, bloodsucking m'sieur". Whatever that might mean. Having read the above, coopastarr@yahoo.com writes For "I'm So Tired" you said that the 'gibberish' at the end of the song is not backwards, well, it actually is. No, actually, it isn't. Really, it isn't. I have recorded and reversed it and clearly heard "Paul's dead man, miss him, miss him" You can hear this yourself by recording it onto your computer and reversing it in your "Sound Recorder" if you have Windows. This can also be done with Blue Jay Way, revolution 9, and other songs. This shows how easily people believe urban legends and folklore. You hear "Paul is dead" because that's what you've been clued to hear. I'll say it again - it was said and recorded forwards, and makes no sense. Listening to it backwards it sounds even less like speech, makes less sense, but if you were looking for a hidden message you'd be able to find one.

I Need You 0:41 Stray clunk noise from guitar, right channel. 1:06 Centre, a quietly hummed note. 1:10 Click to the left, during the syllable "mem", and the track loses something

in content - as if an instrument went quieter, or stopped. 1:47 Clicky sound along with skip in acoustic guitar (left side) just before the volume-pedal guitar comes in. 2:23 Click (in acoustic guitar track).

In My Life 0:47 Finger snap, and rustling (right channel). 1:09 Stray guitar note (right channel). 1:47 At very end of piano solo, one single guitar note can be heard, in the right channel. 2:12 Lennon flubs the word "life-thhhp" in the double tracking. On the subject of the "baroque" solo that George Martin played for this piece, Ugo Coppola writes :...a friend of mine, who is a classical pianist / harpsichord player, very experienced in baroque music, remarks that all of the mordents in this piece (i.e. the little three-note trills) are stylistically wrong, because they come before the "embellished" (real) notes, instead of coming after them (where they should correctly be). He also said: "You cannot close a bar with a mordent, and Martin does this twice."

I Saw Her Standing There 0:00-0:02 Jeffrey Aarons observes If anybody has the raw outtakes 1 through at least 9 or higher than you all know that the famous vocal count intro of "1 2 3 4" was edited onto take one from take 9. On an unedited outtake recording, following another collapse of the tune during take 8, Paul is getting a bit impatient and frustrated and that is why he is captured punctuating his "1 2 3 FOUR!". Another brilliant move by Martin to edit that intro on to the final composite capturing Paul's passionate intro count in. 1:11 Paul hits a wrong note on the 6th note of the repeating 8-note pattern, partly masked by drum fill. 1:23 Bad edit between takes 9 and 12 (between drums and "Now I'll"). 1:25 Paul sings: "Now, I'll never dance ..." John sings: "I wouldn't dance ..." 1:29 John sings: "When I saw her standing there". Paul sings: "Sin' I saw her standing there". John and Paul both distinctly laugh at this mistake, whilst still singing (1:30-1:31). 1:32 Horrible edit in the end of the chorus, during the word "there". The new take comes in over the old one (leading to "there-ere"). This cut is just before the solo, and probably leads to a cut back at 2:26. 2:26

Paul sings: "Now I'll never dance with another". John sings: "H-i wouldn't dance with another". (From "How could + I wouldn't", both of which were wrong!) This point seems to be an edit back to the original take, so not entirely John's fault on the vocal error. Close examination of Ringo's fill reveals that he goes to smack the crash cymbal, yet all we hear is the impact point, and then a heavy bass drum sound as the other take returns. The cymbal itself is lost to the edit. 2:31 John is late with the word "Since".

I Should Have Known Better 0:01, 0:04 Although this is a mono track, there are two distinct "stereo" effect wobbles in the track here. 0:06 The harmonica drops out for a bit. Sounds to me more like running out of breath than bad mixing. (Not on Mono CD version). 0:59 Click during "Mine". 1:08 Random finger snap. 2:00-2:01 Double tracking lost here, during word "see" - and it sounds like "Can't you see (it)" because of some talking at this point. 2:16 Bad edit between "love me to-oo-o, oh../And when I". 2:21 Double tracking regained, on the words "mine, ah-ha-hine". Anthony writes to point out an "off-record" anomaly In the movie A Hard Day's Night , why is Paul miming along to a song he doesn't even sing? "I Should Have Known Better!" The song even gets more ridiculous when it's performed on someone's show or even live. John's harmonica plays on its own while he is miming (or singing).

It's All Too Much 0:00-0:01 Often pointed out, "To your mu..." vocal is cut off by the guitar. However, the vocal continues to about 0:04, but is unintelligible due to the guitar. The vocal is not "All too much". 4:20-4:31 Ringo does some strange fills and seems to lose sync, it's impossible to follow the original beat of the song through this point. When you come out of the other side, you have to resync to a new downbeat. For a couple of bars (4:33-4:37), the clapping (which didn't waver) goes from being on the 2 and 4 beats, to the 1 and 3 beats. Ringo does a half fill to bring us back into time at 4:39.

It's Only Love 0:08 John counts in "1,2" (centre, very quiet). The "one" sounds like "hum". 0:41

LP only - word "only" loses its double tracking. This is intentional (to hide an error) as on the CD the double-track has been left in. You can hear that the timing of "only" is out of place. The mono version also loses double tracking to try and correct this problem. 1:03-1:06 John puts a bit too much emphasis on the word "bright" so it sounds l