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Volume Two,
1966–1970

THE BEATLES’
RECORDED LEGACY
JOHN C. WINN
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Copyright © 2009 by John C. Winn

All rights reserved.

Published in the United States by Three Rivers Press, an imprint of the Crown Publishing Group,
a division of Random House, Inc., New York.
www.crownpublishing.com

Three Rivers Press and the Tugboat design are registered trademarks of Random House, Inc.

Library of Congress Cataloging-in-Publication

Winn, John C.
That magic feeling / John C. Winn.—1st pbk. ed.
Includes bibliographical references and discography.
p. cm.
1. Beatles—Discography. 2. Beatles—History—Chronology. I. Title.
ML156.7.B4W547 2009
782.42166092'2—dc22 2008051921

ISBN 978-0-307-45239-9

Printed in the United States of America

Design by Nancy Beth Field

10 9 8 7 6 5 4 3 2 1

First Paperback Edition

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 To purchase a copy of 

That Magic Feeling 
 
visit one of these online retailers: 
 
Amazon 
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To the memory of my grandfathers,

Sterling Winn and William Delorey

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CONTENTS

ACKNOWLEDGMENTS ■ ix
PREFACE ■ xi

1966: Take This, Brother ■ 1

1967: A Little Bit Older ■ 77
1968: You Become Naked ■ 145
1969: Financial Imbalance ■ 237
1970: Will You Forgive Me? ■ 359

APPENDIX A:
Master Newsreel List
for the Years 1966–1970 ■ 383
APPENDIX B:
John Lennon’s Home Tapes 1966–1970 ■ 387

GLOSSARY ■ 389
SELECTED BIBLIOGRAPHY ■ 391
DISCOGRAPHY ■ 393

INDEX ■ 397

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ACKNOWLEDGMENTS

Although I had to do all the dirty work myself, such as transcribing press confer-
ences, this book would simply not exist without the support and help of a lot of
other people.

First and foremost are Scott Raile and John McEwen. Scott has given me invalu-
able feedback on the majority of the manuscript, and has always been there to nit-
pick over the finer points of arcane Beatle trivia over the last twelve years. Were it
not for John McEwen, you’d be reading a guide to audio recordings only—his ex-
pertise in the field of Beatles video and generosity in sharing the material are un-
paralleled.

Other fellow Beatle fans and authors who provided encouragement, recordings,
and facts include Mark Ashworth, Chazz Avery, Andrea Bucchieri, Jay Donnelly,
Harald Gernhardt, Don Giller, Ted Greenwald, Randy Hall, Chris Hanzl, Walt Ja-
neck, Mike Johnson, LRE King, Katz Kisaki, Tim Kocher, Allan Kozinn, Jason
Kruppa, Mark Lewisohn, Chip Madinger, Warren Raab, Tim Riley, Bamiyan Shiff,
Doug Sulpy, Dirk Van Damme, and Michael White.

Special thanks to my agent, Matthew Elblonk, for his persistence in getting this
revised edition published. A tip of the hat to Andrew Croft for helping to launch my
writing career in the pages of his Beatlology magazine. Thanks to all my friends
who have talked Beatles with me over the years: Oliver Graham, Chris Mirski, Do-
minic Robillard, Karyn O’Bryant, and especially Abby Dees. Lots of love to my par-
ents, grandparents, and Aunt Cathy and Uncle Jim for helping to raise a fine
Beatlemaniac.

Finally, eternal gratitude to my best friend, Janis, for believing in me and giving
me the confidence to have faith in myself and my abilities.

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PREFACE
This book is meant to be used in conjunction with Volume 1, so I won’t rehash the
rationale and definitions from the earlier preface. But in case you’ve been able to
acquire only this volume, here’s how a typical entry works:
6. Studio session
The header contains a number (sequential within each
chapter—this would be the sixth entry for that year),
followed by a categorical designation for the entry. In
entries where less than all four Beatles participate in a
recording, I’ve also included the capital letters of their
first names (Paul and George in this instance). For this
purpose, Pete Best and Jimmy Nicol count as official
members, and all studio sessions for Beatle product are
exempt from the rule (thus the entry for “Yesterday” is
not labeled with a P, even though Paul is the only Bea-
tle to sing or play).
Date: Host:
Time: Interviewer:
Location: Broadcast:
Producer: Length:
These are all fairly straightforward, but note that the
date of an entry is the final date new sound was added
to a recording. For instance, most of the song “Slow
Down” was recorded June 1, 1964, but it wasn’t com-
pleted until George Martin’s piano overdub three days
later; thus it falls under June 4. Under Location,
“EMI Studio 2” should be taken to read Abbey Road
Studio 2, London; similar shortcuts are used for
John’s (“Kenwood”), George’s (“Kinfauns”), and Ringo’s
(“Sunny Heights”) London homes.
[A.] Zip Your Zucchini—takes 2–6 (stereo)
(3:55)
[B.] Zip Your Zucchini—take 17 (mono)
(2:19)
[C.] Zip Your Zucchini—RM 8 (2:14)
Mixed: 30 January 1964
xi
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P, G
Studio session subentries are generally grouped into
blocks of raw sessions followed by finished mixes. For
the hypothetical song above, we have a continuous
stereo recording of five takes, a mono recording of a
later take, and a finished mono mix (RM stands for
remix mono; RS for remix stereo) created January 30,
1964. For concert recordings and TV/radio perfor-
mances, the songs are listed in the likely order of per-
formance. “Intro” and “outro” can consist of stage
patter or merely audience screaming between songs.
All timings in this book are meant to be approximate,
not definitive; when faced with different lengths on
various sources, I always went with the recording clos-
est to the presumed correct pitch.
RELEASE HISTORY
1964: C was released on a single and is available on a
CD single of the same title.
1976: A and B surfaced on the vinyl bootleg Beatles
Tut-Tut Album in very good quality.
The release history is an attempt to show the geneal-
ogy of each recording. It always includes the first ap-
pearance, whether on a legitimate or bootleg source,
any subsequent upgrades in sound quality or length,
and the currently available commercial issues. Sound-
quality assessments are obviously subjective, and are
meant for comparative purposes only.
Any questions, corrections, comments, or additions?
Drop me a line at DinsdaleP@aol.com—I’m always
glad to talk Beatle.
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1966: TAKE THIS, BROTHER

January 5 John Lennon attends a party at the home of singer P. J. Proby in London.
January 8 While Paul visits his family in Liverpool, the rest of the Beatles attend a party at Mick Jagger’s
London townhouse.
January 12 John and Ringo fly to Port of Spain, Trinidad, for a vacation with their wives.
George and Pattie nightclub at Dolly’s disco with Mick Jagger.
January 21 George marries Patricia Ann Boyd at Esher Register Office; in a reversal of Ringo’s wedding, Paul is
the only other Beatle in the country and stands in as best man. A reception follows at Kinfauns.
January 23 John and Ringo return to London from their vacation in Trinidad.
January 31 Paul and George, with Jane and Pattie, attend the premiere of the play How’s the World Treating
You? at Wyndham’s Theatre in London.

February 3 Paul attends Stevie Wonder’s show at the Scotch of St. James nightclub.
February 4 George and Pattie attend the play Little Malcolm and His Struggle Against the Eunuchs at the Garrick
Theatre.
February 8 Newlyweds George and Pattie fly from London to Barbados for their honeymoon.
February 12 John and Ringo nightclub at the Scotch of St. James.
February 13 John, Paul, and Ringo attend a party at Brian Epstein’s house.
February 21 U.S. release of “Nowhere Man”/“What Goes On” single.
February 23 Paul attends a performance of electronic music by Luciano Berio at the Italian Institute.
February 25 George and Pattie return to London from their Barbados honeymoon.

March 4 UK release of Yesterday EP.

Maureen Cleave’s interview with John is published in the Evening Standard. Buried in the middle of
the piece is the following quote from John: “Christianity will go. It will vanish and shrink. I needn’t
argue with that; I’m right and I will be proved right. We’re more popular than Jesus now. I don’t know
which will go first—rock-and-roll or Christianity.” Reaction is minimal in Britain; when read within the
context of the entire article, the statement is less inflammatory.
March 6 Paul and his girlfriend, Jane Asher, fly from London to Klosters, Switzerland, for a brief ski vacation.
March 20 Paul and Jane return to London.
March 24 The Beatles, their wives, and Brian Epstein attend the premiere of the film Alfie (in which Paul’s
girlfriend, Jane Asher, plays a small role) at the Plaza Haymarket Cinema.
March 25 Robert Whitaker shoots a series of photos of the Beatles at Oluf Nissen’s studio in the Vale, Chelsea.
Most notably, the group pose in butchers smocks surrounded by raw meat and dismembered baby
dolls.
March 26 Paul and his brother Michael watch their father’s racehorse win the Hylton Plate at Aintree Race
Course.
March 28 George and Ringo attend Roy Orbison’s concert at the Walthamstowe Granada Cinema.

April 1 John and Paul visit the Indica Gallery, which opened the previous month with a £5,000 contribution
from Paul.
April 6 Sessions for the Revolver LP begin at EMI Studios.
April 18 John and George attend the Lovin’ Spoonful’s concert at the Marquee Club.

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May 1 The Beatles give their final British concert, performing at the New Musical Express Poll Winners’
Concert at the Empire Pool. Though most of the show is videotaped for ABC, the Beatles’ set goes
undocumented due to contractual disputes.
May 19 John and Paul, along with Keith Moon, spend all night listening to the advance copy of Pet Sounds,
brought over by Beach Boy Bruce Johnston.
May 20 John and Cynthia attend a party in London with Mick Jagger.
May 27 John and Bob Dylan are filmed in the backseat of Dylan’s limo en route from John’s Weybridge home
to the May Fair Hotel. That night, John and George attend Bob Dylan’s concert at the Royal Albert
Hall; later, Paul, Bob Dylan, and the Rolling Stones socialize at Dolly’s, a nightclub.
May 30 U.S. release of “Paperback Writer”/“Rain” single.
John’s limo is pulled over for speeding while attempting to evade a carful of Beatles fans.
May 31 Ringo is photographed at home for Beatles Monthly magazine.

June 1 George attends Ravi Shankar’s concert at the Royal Albert Hall; soon afterward they meet for the first
time at Peter Sellers’s home.
June 10 UK release of “Paperback Writer”/“Rain” single.
June 16 Paul purchases a farm near the Mull of Kintyre in Campbeltown, Scotland.
The Beatles receive cholera vaccinations (for their upcoming far eastern tour) at BOAC Air Terminal,
Victoria Railway Station.
June 20 U.S. release of “Yesterday” . . . And Today LP.
June 22 The Beatles attend the pre–opening night celebrations at Sibylla’s, a nightclub cofinanced by
George.
June 23 The Beatles fly from London to Munich to begin their final world tour.
June 27 The Beatles fly from Hamburg to London Airport to catch a connecting flight to Japan, their next
scheduled destination. A decidedly unscheduled typhoon reroutes them to Alaska, where they spend
the night at a hotel in Anchorage.

July 3 The Beatles fly from Tokyo to Manila with a stopover in Hong Kong.
July 4 The Beatles offend Imelda, wife of Philippine president Ferdinand Marcos, by missing a ceremonial
luncheon at Malacañang Palace.
July 5 The Beatles are harassed by police, government officials, and angry mobs as they make their way to
the airport without the promised escorts. They fly from Manila to India via Bangkok, arriving at New
Delhi to hundreds of Indian Beatles fans, much to their bewilderment.
July 8 The Beatles return to London Airport in the early morning hours.
UK release of Nowhere Man EP.
July 29 Datebook, a U.S. teen fan magazine, publishes Maureen Cleave’s March 4 interview with John, under
the misleading banner headline “More Popular Than Jesus.”

August 2 George visits his mother-in-law’s home in Devon.

August 5 UK release of Revolver LP.
UK release of “Yellow Submarine”/“Eleanor Rigby” single.
August 8 U.S. release of Revolver LP.
U.S. release of “Yellow Submarine”/“Eleanor Rigby” single.
August 11 The Beatles fly from London to Chicago (via Boston) for their final concert tour; that night, John
explains his remarks about religion, with a pair of remarkable press conferences at the Astor Towers
Hotel in Chicago.
August 19 At the evening concert at Memphis’s Mid-South Coliseum, a cherry bomb is thrown onstage during
“If I Needed Someone.”
August 29 The last Beatles concert, at Candlestick Park in San Francisco, is taped by press officer Tony Barrow
on a C-60 cassette with a portable recorder pointed toward the general direction of the stage. On the

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flight back to Los Angeles after the show, the Beatles agree to cease touring for at least the
immediate future.
August 30 The Beatles fly overnight from Los Angeles to London.
August 31 The Beatles arrive back at London Airport.

September 5 John flies to Hanover, West Germany, to the set of How I Won the War.
September 6 John has his hair cropped into a crew cut for his role as Private Gripweed; filming begins for How I
Won the War.
September 14 Shooting of How I Won the War concludes at Celle, West Germany.
George and Pattie Harrison fly to Bombay to study yoga and meditation; George also begins sitar
lessons under the guidance of Ravi Shankar.
September 15 Paul attends a free-form music concert at the Royal College of Art.
John and Neil Aspinall travel to Paris.
September 16 Paul and Brian Epstein join John and Neil for the weekend.
September 18 John and Neil travel to Almeria, Spain, to continue filming How I Won the War.
September 19 George holds a press conference at the Taj Mahal Hotel in Bombay.
Shooting for How I Won the War continues on location in Carboneras, in southern Spain.
September 27 Brian Epstein checks in to the Priory Hospital for recuperation and a complete physical following his
apparent suicide attempt earlier in the month.

October 4 Ringo and Maureen fly from London to Spain and join John on the set of How I Won the War.
October 15 Dressed in an Arabian costume, Paul attends the opening night celebration for the underground
paper International Times, held at the Roundhouse in London.
October 22 George and Pattie fly from India to London.
October 26 George welcomes Ravi Shankar on the arrival of Ravi’s flight at London Airport.
October 31 Donovan arrives at George’s bungalow for a week-long visit.

November 6 John’s last day of location shooting How I Won the War.
Paul flies from Kent to France and spends a week driving through the countryside before meeting up
with Mal Evans at Bordeaux.
November 7 John flies from Madrid to London.
November 9 John is formally introduced to Yoko Ono, the artist of Unfinished Paintings and Objects, the day
before the avant-garde exhibit opens at the Indica Gallery.
November 11 John and Cynthia attend a Ben E. King performance at the Scotch of St. James nightclub.
November 12 Paul and Mal drive from Bordeaux to Spain, where they had intended to visit John on the film set.
Since his part has wrapped early, they drive to Seville, fly to Madrid, have a layover in Rome, and
finally arrive in Nairobi, Kenya, for a safari vacation.
November 19 Paul and Mal Evans return to London from their African safari.
November 20 John and George attend a party in honor of the Four Tops at Brian Epstein’s house.
November 24 The Beatles reconvene at EMI Studios for new sessions, beginning with “Strawberry Fields Forever,”
and culminating in the LP Sgt. Pepper’s Lonely Hearts Club Band.

December 1 Paul attends the Young Rascals show at the Scotch of St James nightclub.
December 2 Paul attends another Young Rascals show at Blaises nightclub in the Imperial Hotel.
December 9 UK release of A Collection of Beatles Oldies LP.
December 16 UK release of Pantomime: Everywhere It’s Christmas, the Beatles’ fourth annual Christmas flexi-disc
for fan club members.
December 18 Paul and Jane Asher attend the world premiere of the film The Family Way at the Warner Cinema.
Paul composed the movie’s incidental score.

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December 31 George, Pattie, Brian Epstein, Eric Clapton, and friends decide to take their patronage elsewhere
after George is refused admittance to Annabel’s, an upscale nightclub, for not wearing a tie. Instead,
the party rings in 1967 at J. Lyons & Co., a small restaurant in southern Soho.

1. Studio session
Date: 5 January 1966 having a ball trying to re-create his manic elbow styl-
Location: CTS Studios, London ings. Both E and F were completely rerecorded by the
Producer: George Martin whole band, and the studio atmosphere is most evident
Broadcast: 1 March 1966, 8:00–8:50 p.m. on these numbers, although they do a good job of in-
BBC1 vesting the songs with concert-level energy. It’s not
The Beatles at Shea Stadium clear whether any overdubbing was done to G, and as
“A Hard Day’s Night” was largely obscured by dialogue,
[A.] Dizzy Miss Lizzy (2:47) it was left untouched.
[B.] Can’t Buy Me Love (2:05) There wasn’t time to fix up “Twist and Shout” or
[C.] Baby’s in Black (2:07) “Act Naturally,” so earlier recordings were added to the
[D.] I’m Down (2:07) soundtrack. In the case of “Twist and Shout,” Capitol’s
[E.] I Feel Fine (2:06) 1965 Hollywood Bowl recording was deemed suitable,
[F.] Help! (2:19) but “Act Naturally” proved more difficult. A couple of
[G.] Ticket to Ride (2:14) shows into the tour, the group had dropped the song in
favor of “I Wanna Be Your Man,” and thus no suitable
Although it wasn’t exactly publicized at the time, the live recording existed. Instead, the original studio ver-
Beatles didn’t cover up the fact that most of the Shea sion was sweetened with crowd noise and dropped in.
concert film had to be overdubbed in a studio due to Although the record featured acoustic rather than elec-
technical limitations. To their credit, they had al- tric rhythm guitar, it’s doubtful many viewers noticed
ready refused to release both Hollywood Bowl con- the difference.
certs recorded by Capitol for similar reasons, but with
NEMS putting their own money into the Shea project
RELEASE HISTORY
(via Subafilms), the group was persuaded to bring the
recordings up to par. This was achieved in a London The Beatles at Shea Stadium soundtrack has been re-
film-dubbing studio, with George Martin at the helm leased on dozens of bootlegs over the years; the earliest
and the Beatles doing their best to match their new vo- titles on vinyl included Shea, the Good Old Days and
cals and instrumental tracks to the images on celluloid. the misleading Last Live Show. The best CD source is
Paul beefed up his bass tracks for A–D, with John probably Shea!/Candlestick Park.
also fortifying his organ on the latter song, probably

2. Newsreel footage G
Date: 22 January 1966 knitted beret, as the couple sit on a desk and kiss for
Location: London the benefit of photographers. As Tony Barrow struggles
Broadcast: 22 January 1966 to control proceedings in the background, George pro-
ITV fesses his desire to take things slow when it comes to
Length: 0:59 starting a family.

As Ringo had a year earlier, George consented to meet

RELEASE HISTORY
the press the day following his wedding to Patricia
Boyd. This ITV News footage from the press conference This footage was included on the video compilation
captures the newlyweds’ entrance, Pattie sporting a Beatles 1962 to 1970.

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3. Interview
Date: 22 January 1966
Location: London
Broadcast: 25 February 1966
WABC-AM, New York City
Length: 1:45
One interview from this press conference seems to orig-
inate from an ABC-TV report with an unknown Ameri-
can journalist. George doubts that the marriage will
have much of an impact on the Beatles’ popularity, hop-
ing that the fans are becoming more interested in the
music and less concerned with their personal lives.
He also refuses to rise to the bait when the reporter
presses him to speculate about Paul’s marriage plans.
4. Interview
Date: 22 January 1966
Location: London
Length: 1:47
In this interview for a Reuters newsreel, Pattie ex-
presses a wish to remain away from the public eye,
much as Cynthia and Maureen were doing. She reiter-
ates her desire to have three children (“Thirty-nine,”
interjects George), but sadly the couple failed to pro-
4a. Newsreel footage
Date: 22 January 1966
Location: London
Length: 4:37
British Pathe’s archive has several minutes of silent
footage of the newlyweds’ press conference, including
shots of George’s parents, Brian Epstein, and Tony
Barrow watching the proceedings, and Pattie showing
5. Newsreel footage
Date: 8 February 1966
Location: London Airport
Length: 0:23
George and his new bride decided to wait a couple of
weeks before taking off to Barbados for a lengthy hon-
eymoon. Cameras followed the couple through the ter-
minal at London Airport to the steps of their BOAC
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G
Pattie says she wants to have three children, which
prompts George to sing a line from Len Barry’s recent
hit “1-2-3” (ironically, Barry’s follow-up single, which
entered Billboard’s Top 40 this very day was titled
“Like a Baby”!). Pattie patiently answers a couple of
patronizing questions before smooching George for the
benefit of ABC’s cameras.
RELEASE HISTORY
This interview circulates among collectors in good
quality from a radio rebroadcast on George’s twenty-
third birthday.
G
duce any progeny during their eleven-year marriage.
The newlyweds then recount their meeting on the film
set of A Hard Day’s Night, with George revealing that
Pattie snubbed him on his initial request for a date.
RELEASE HISTORY
1996: 46 seconds of this interview was released on Fab
Four CD & Book Set. The full clip circulates on video.
G
off her wedding ring for the cameras. At the end, Mr.
and Mrs. Harrison squeeze onto a couch with the new
Mr. and Mrs. Harrison and pose for further pictures.
RELEASE HISTORY
This silent footage circulates on video.
G
flight, George in a casual suit and Pattie in a mod
black-and-white outfit with stylish shades.
RELEASE HISTORY
This footage circulates on video, and was included in
ITV’s Reporting ’66: End of Beatlemania.
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6. Speech
Date: ca. 25 February–early March 1966
Location: London
Length: 0:46
At some point early in the year, George agreed to
record a brief message of thanks for the readers of
Bravo, the magazine that would sponsor their upcom-
ing tour of Germany. The message is spoken entirely in
German, and George was probably chosen to be the
spokesman because he was easily the Beatle most flu-
ent in that language.
7. Interview
Date: 25 March 1966
Time: 3:00–3:30 p.m.
Location: The Vale, London
Interviewer: Tom Lodge
Broadcast: Radio Caroline
Length: 20:52
Once Paul returned from his Swiss skiing holiday, the
Beatles could begin convening after a long respite. One
of the first such occasions was around this time at
NEMS’s offices, when the “trunk photo” eventually
used on the “Yesterday” . . . And Today album cover
was shot. But of course, the alternate picture that ini-
tially graced the sleeve was much different, stemming
from a March 25 session with photographer Robert
Whitaker.
Before donning the butcher smocks and gathering
the doll parts and raw meat, however, a somewhat un-
welcome publicity task awaited the group. Brian Ep-
stein was half owner in the newly merged Disc and
Music Echo paper, and to promote its inauguration, a
free flexi-disc single would be mailed as a premium to
readers who sent in coupons. The disc, titled Sound of
the Stars, was to feature interviews with a number of
British pop stars. With Epstein’s involvement, and
NEMS’s Tony Barrow producing the recording, the
Beatles’ participation seemed mandatory.
At least that’s how it sounds during the unedited
interview, with none of the group having anything in-
teresting to say, and Radio Caroline DJ Tom Lodge
having no interesting questions to pose. Instead, he
tries desperately to fill time, receiving little assistance
from his interview subjects. As the tape begins, Lodge
asks such inane questions as “What’s it like being a
Beatle?” and “What do you think of this microphone?”
John, just starting to use LSD recreationally around
this time, mentions “hallucinations,” and Paul know-
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G
RELEASE HISTORY
1966: This recording was issued on a 7-inch flexi-disc,
Die Goldenen OTTO-Sieger 1966, included with issue
13 of Bravo magazine, dated March 21. It’s been copied
on numerous bootlegs such as Beatles 4 Ever and Live
at the Circus Crone.
ingly sniggers about “poiple hearts . . . All them pop
groups take ’em.” In fact, when Ringo’s earnest answer
to a question about answering mail induces riotous
laughter for no apparent reason, it appears some of the
lads may be high, and the tape is switched off.
As we rejoin them, Tony Barrow is heard admitting
he has nothing particular in mind for this recording,
which is a pity for anyone having to listen to the next
fifteen minutes. Such “wacky” jokes as Paul’s twins,
ages “four and five,” and having Gershwin and Trotsky
ghostwrite their songs, come across as forced rather
than whimsical. In desperation, Lodge even asks Ringo
when he first had sex! Even more embarrassing are his
attempts to get the Fabs to send greetings to other
Radio Caroline DJs; they obviously don’t listen to his
station and recognize almost none of the names, al-
though John is sure they used to work with Tony
Blackburn.
After requesting “Green Door,” a 1956 hit for Jim
Lowe, and “Priscilla,” a hit for Eddie Cooley and the
Dimples the same year, they make a dedication to
Donny Andrews, bassist for the Liverpool group the
Remo Four. Finally, the conversation turns toward pol-
itics, and George struggles to make some valid points
about military spending and the BBC’s monopoly on
terrestrial radio. But in the end, only a fraction of this
tape was suitable for the flexi-disc.
RELEASE HISTORY
1966: The flexi-disc Sound of the Stars contained ex-
cerpts from this interview; a bit at the start of side 1
and a further 1:37 to close out side 2.
1996: The unedited source tape was released on the CD
Don’t Touch That Dial 2.
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8. Home demo
Date: ca. late March 1966
Location: 34 Montagu Square, Marylebone
[A.] Eleanor Rigby (0:16)
In March 1966, as Paul was helping Barry Miles set up
the Indica Bookshop, the two discussed setting up a
recording studio that could be used by poets and exper-
imental musicians. Paul ended up installing a pair of
Revox tape recorders in a flat Ringo was leasing, where
this demo fragment was most likely recorded. In Paul’s
authorized biography, Many Years from Now, Barry
Miles writes: “Paul recorded most of the demo versions
of ‘Eleanor Rigby’ at the experimental recording studio
that he had set up in Marylebone.”
The tape originally contained Paul’s off-air copy of
the documentary The Beatles at Shea Stadium, aired
March 1 on BBC TV. Sometime in the following weeks,
Paul erased the tape’s first two minutes with a guitar
demo of his new composition. According to their chauf-
feur Alf Bicknell, the Beatles taped demos at George’s
home on April 10, 1966; this may also come from that
session. Following the Shea documentary, the tape ap-
parently concludes with an instrumental resembling
8a. Home demo
Date: ca. 1966
Location: 34 Montagu Square, Marylebone
[A.] tape experiments (4:14)
In the same vein as the “Eleanor Rigby” demo, but far
less structured, is this recording of Paul and various
friends fooling around with his Revox machines in the
basement studio. Playing with the tape echo, Paul bab-
bles in various silly accents (Scouse, Irish, and so on),
with his mates chiming in here and there. Although the
recording date is unknown, Paul does mention the
9. Studio session
Date: 6 April 1966
Time: 8:00 p.m.–1:15 a.m.
Location: EMI Studio 3
Producer: George Martin
[A.] Tomorrow Never Knows—take 1
(stereo) (3:13)
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P
“I’m Looking Through You,” which may mean even
more material from 1965 was being taped over.
Paul recalls writing the melody to “Eleanor Rigby”
on the upright piano in the Ashers’ basement music
room (the same piano he and John had used to compose
“I Want to Hold Your Hand”), by “vamping an E-minor
chord.” The demo sounds a half step lower in pitch,
with Paul’s double-tracked vocal accompanied by his
acoustic guitar. The circulating excerpt consists of the
refrain “All the lonely people/Where do they all come
from?/All the lonely people/Where do they all belong?”
The full demo reportedly includes the working lyric
“Father McCartney” during the second verse; hope-
fully the unedited tape will appear someday to verify
that fact.
RELEASE HISTORY
2001: This recording turned up out of the blue on a tape
being auctioned via the Internet. The sample clip was
available on the website www.beatles-auction.com.
2002: A was included on the CD-R As It Happened,
Baby!
P
“Carousel of Light” at one point. While this phrase is
fairly close to Carnival of Light, the January 1967 fes-
tival to which Paul contributed a Beatles sound col-
lage, this is most definitely not that recording.
RELEASE HISTORY
2004: On June 12, BBC Radio 4’s series The Archive
Hour broadcast Barry Miles’s documentary Z Is for
Zapple, which opened and closed with this recording.
The entire show circulates on CD-R.
[B.] Tomorrow Never Knows—monitor mix of
take 1 (mono) (2:02)
The sessions for Revolver started off with a bang this
evening thanks to a recording that would end up lyri-
cally, melodically, and sonically unlike anything the
Beatles had attempted before. It began life with the
Winn_9780307452399_4p_01_r1.r.qxp 4/13/09 12:18 PM Page 8
unassuming working title “Mark I,” and John, its au-
thor, already had some idea of how he wanted it to
sound, although getting it right took some doing.
For this first attempt (A), a simple tape loop of
slowed-down guitar and resonant percussion was pre-
pared to drone and scrape away in the background.
With George Martin’s “Here it comes” playback warn-
ing, Ringo and Paul added a simple but relentless
drum and bass backing on top of this, the result all
going on track 1 of the four-track tape. John also sang
a guide vocal on track 4, but seems to have been listen-
ing to the loop in his headphones rather than what
Paul and Ringo were playing, as his vocal lags behind
throughout.
A monitor mix of this take (B) appears in two seg-
ments on the Anthology DVD, as George Martin plays
back the tape with Paul, George, and Ringo at Abbey
Road, occasionally isolating each of the two tracks.
Although the recording as it stood was already rev-
olutionary by their standards, John had something
more extreme in mind. By take 3, a satisfactory back-
ing track was laid down on track 1 of the tape. This
consisted of Ringo’s drums and Paul’s bass, this time
10. Studio session
Date: 7 April 1966
Time: 8:15 p.m.–1:30 a.m.
Location: EMI Studio 3
Producer: George Martin
[A.] Got to Get You into My Life—take 5
(mono) (2:52)
Today’s afternoon session saw an important addition to
“Mark I” as each Beatle arrived with several tape loops
of various sped-up and distorted guitars and sound ef-
fects such as wine glasses being rubbed. Five of these
were placed on different mono machines, the tension
taken up by people holding pencils. These signals were
all patched into a mixer controlled by the group’s new
recording engineer Geoff Emerick, who alternated
among the signals and fed the results onto track 2 of
the “Mark I” tape. Track 3 of the tape would not be
filled for a couple more weeks.
This evening session was devoted to Paul’s ode to
marijuana, “Got to Get You into My Life.” By the fifth
take, a basic track of acoustic guitar, drums, and
George Martin on organ was completed, with added vo-
cals: Paul’s lead and some nice harmonies from John
and George. The song was lyrically complete at this
stage, with the additional words “somehow, someway,”
after the title line; what would eventually be a guitar
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without any accompanying tape loop. John wanted a
more ethereal sound on his vocal than mere double-
tracking could give him (something akin to thousands
of chanting monks or the Dalai Lama atop a moun-
tain). Presumably, with no Himalayas nearby, the clos-
est thing at hand in Studio 3 was the swirling sound of
the Hammond organ’s rotating Leslie speaker.
Much to his delight, when John’s voice was fed
through the Leslie, it produced the desired gyrating
tone, and he recorded a lead vocal on track 4 of the
tape, with the Leslie effect switched on for the second
half of the song. Alongside this, George played a tam-
boura drone on the same track. There was more work
to be done, but that would have to wait for the follow-
ing day.
RELEASE HISTORY
1996: A was officially released on Anthology 2.
2003: B was released on the soundtrack of the Anthol-
ogy DVD.
break near the end was for now a repeated “I need your
love” in rising harmony.
Although take 5 (A) was temporarily marked “best,”
they started again the next day with a slightly differ-
ent arrangement. With only two tracks of the tape
filled this evening, the version released on Anthology 2
is understandably in mono; if you listen closely, there
appears to be a second organ part mixed out (clicking
keys can be heard) that duplicates the eventual brass
line after each refrain.
In addition, 21 seconds from the end of this take
was included in the Anthology documentary; although
the music overlaps entirely with the CD, the vocal
track is left up a bit longer, allowing us to hear Paul’s
comment “D’you want to do another one, George?” as
well as a bit more clowning from John and George.
RELEASE HISTORY
1996: A was officially released on Anthology 2. The ex-
cerpt with extra vocals was also released on the An-
thology home video the same year; it can be found on
the bootleg CD Abbey Road Video Show. Its appearance
on the Anthology DVD has been ruined by aligning the
vocal and music tracks out of sync.
Winn_9780307452399_4p_bm_r1.r.qxp 4/13/09 12:05 PM Page 403

ABOUT THE AUTHOR

John C. Winn has studied the Beatles’ recordings for more than thirty years, and has
written six books and numerous articles about the band’s musical output. He was
born in Berkeley, California, and currently lives in Vermont, surrounded by thou-
sands of Beatles CDs, LPs, cassettes, DVDs, books, and magazines. His favorite
album is Revolver.

403

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Winn_9780307452399_4p_bm_r1.r.qxp 4/13/09 12:05 PM Page 404

ALSO BY JOHN C. WINN

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