Набор The Ultimate Collection Volume 2 - 4CD BOX Set (YDB 201/204) включает в себя:

Box

8 pages booklet

CD Live, Live, Live (YDB 201)

CD Studio Sessions, Feb. 11, 1963 (YDB 202)

CD Studio Sessions, March 5, Sept. 12, 1963 (YDB 203)

CD The 2nd Recorded Hour Of The Let It Be Sessions (YDB 204)

Live, Live, Live

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Liner notes:

Tracks 1 to 8 The Beatles' performance at the Karlaplansstudion in the centre of Stockholm, Thursday October 24, 1963. Taped by Swedish national radio to be aired some two weeks later on Monday November 11. An exciting and highly enjoyable set of seven songs, twenty-five minutes long. Produced by one Klas Burling, the programme also hosted local talents Hasse Rosen and the Norsmen.

The Beatles' short tour of Sweden in late October 1963 was their first concert trip abroad as a popular foursome. The boys left for Sweden on the afternoon of Wednesday October 23, 1963, after having completed recordings at Abbey Road for their second LP, "With The Beatles". A total number of nine live performances were scheduled, at the Karlstad Sundsta Laroverk, the Stockholm Kungliga Tennishallen, the Goteborg Lorensbergsparken Cirkus, the Boras Borashallen and the Eskilstuna Sporthallen. The evening of Wednesday October 30 saw the 'fab four' record a TV show for Sveriges Television at the Stockholm Narrenteatern. Presented by the same Klas Burling, the programme, called 'Drop In', taped a performance of four songs and The Beatles clapping along with the closing theme tune (screened November 3). Having conquered Sweden in just seven days, The Beatles left for London and home in the early hours of Thursday October 31, 1963, to receive their first fan-packed airport reception.

Tracks 9 to 16 The Beatles live at the Paris Palais Des Sports on Sunday June 20, 1965. Saved here is the afternoon show as taped by Europe 1, a French national radio station. It was broadcast on June 27. A packed audience of some six thousand saw the boys play a selection of eleven songs, old and new. It's quite enjoyable to hear John, Paul and George desperately trying to introduce their chansons in French. For some strange reason, Europe 1 aired only eight of the tunes staged this afternoon. With two concerts (afternoon and evening) at the Paris Palais des Sports, The Beatles took on a short fourteen-day tour of Europe, visiting France, Italy and Spain. Comprising a total of fifteen live performances, the show's track listing included a rather rare performance of I'm A Loser. They gave concerts in Lyon (Palais d'Hiver de Lyon), Milan (Velodromo Vigorelli), Genoa (Pallazo Dello Sport), Rome (teatro Adriano), Nice (Palais Des Expositions), Madrid (the bull-ring of Plaza De Toros De Las Ventas) and in Barcelona (another bull-ring, Plaza De Toros Monumental).

Tracks 17 to 28 The Beatles live at Tokyo's Nippon Budokan Hall on Friday July 1, 1966. This recording is of the second (afternoon) show, taken from a total of five live performances at this concert venue, packed with ten thousand Japanese fans. Video-taped by the national TV station, Nippon Television, this save represents an extremely good sound quality, although this certainly wasn't their best concert of all. The Beatles' concerts at Budokan Hall were organized by local promoter Tatsuji Nagashima. Again, it was a circus of loudly screaming fans who welcomed the lads. The people of Tokyo, however, were clearly less enthusiastic about this noisy musical visit, the Budokan Hall being deemed a sacred place suitable only for the presentation of Japanese martial arts.

The Beatles' visit caused public demonstrations in opposition, with an army of some 35,000 police officers ensuring the lads' safety, from their arrival at Haneda Airport, and throughout their entire five days' stay at the Tokyo Hilton. The stage repertoire for their 1966 concerts included one-off live versions of new Rubber Soul album tracks, such as Nowhere Man and George's If I Needed Someone, the freshly-re­leased single Paperback Writer, and rare perfor­mances of Baby's In Black and Paul's Yesterday. Not having been on tiring tours for several months and staging their act without any pre-tour rehearsals, this series of faraway concerts certainly wasn't The Beatles at their best. They are mostly out of tune, mis-timing and even messing up the lyrics and verses of the old rocker I'm Down. Paul, still clearly trying to make the best of it: "Thank you very much everybody and ‘Domo’, as they say."

The Beatles left the land of the rising sun for the Philippines in the early hours of Sunday July 3, 1966. They staged two even noisier shows at the Manila Rizal Memorial Football Stadium, packed with 80,000 youngsters.

Studio Sessions, Feb. 11, 1963

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After one year this material was released on CD "Studio 2 Sessions At Abbey Road, Vol.1 (YD 063)".

Спустя год этот материал был переиздан на компакт-диске "Studio 2 Sessions At Abbey Road, Vol.1 (YD 063)".

Liner notes:

Studio Sessions, Feb. 11, 1963: A studio session at Abbey Road. February 11, 1963.

The Beatles' low budget debut LP 'Please Please Me1 was taped in a one-day marathon session at Abbey Road Studios on Monday, February 11, 1963. Recording started at ten in the morning and was finally finished at close to eleven the same evening. The session was supervised by producer George Martin and mastered on a twin-track tape. It contains a total of just ten songs in 585 long minutes. To be more specific, here's what they recorded:

Thirteen takes of There's A Place, twelve diffe­rent takes of a song at that time still called Seventeen (later to be renamed I Saw Her Standing There), seven takes of A Taste Of Honey, eight takes of Do You Want To Know A Secret, eleven takes of Misery, three takes of Anna, one of Boys, four of Chains, three of Baby It's You and finally just two run-downs of Twist And Shout.

The other four songs to be included in the 'Please Please Me' album (first released in Britain on Friday March 22, 1963), Love Me Do, PS I Love You, Please Please Me and Ask Me Why, had already been recorded at Abbey Road on Tuesday, September 11 and Monday, November 26, 1963. These had also been re­leased as the boys' first two singles for EMI Records. One other track was recorded during this marathon 'Please Please Me' session, thirteen takes of a song called Hold Me Tight, eventually shelved to be included on their second LP, 'With The Beatles'. Over the years, some of the alternative tracks and takes recorded that day at Abbey Road, have been released on various vinyl’s and com­pacts. Yellow Dog Records is now pleased to present a first, near-complete picture of this productive recording date. Almost everything The Beatles taped during that Monday's first two scheduled sessions (from 10:00 am to 1:00 pm and from 2:30 to 6:00 pm) is saved here for an enjoyable second listen.

Track 1 The first recorded take of There's A Place. Rather a weak first performance, with harmonics and piano yet to be added.

Track 2 Straight on to There's A Place, take #2, with George Martin heard shouting "Two" at the very start. Although sounding quite similar to their previous attempt, this second take certainly is a previously unreleased piece of musical history.

Track 3 And again, takes #3 and #4. Following a brief false start (take #3), take #4 continues with a complete performance. Note that there's still no performance of any harmonica solos by John.

Track 4 On for two more, takes #5 and #6 of still the same song. Starting with a short intro of Please Please Me, take #5 breaks into a false start. The following take #6 is a complete alter­native version.

Track 5 Still not pleased, takes #7 and #8 of There's A Place. Again, it's a false start leading to a complete, previously unheard, alternative ver­sion (take #8).

Tracks 6 and 7 There's A Place takes #9 and #10, both previously unheard. It was the latter, take #10, which producer Martin favored to be harmonica overdubbed (noted as takes #11 and #12), and finally resulting in the commer­cial version (yet another, take #13).

Track 8 The first recorded take of the old track Seventeen, read I Saw Her Standing There. A countdown by Paul follows an absolutely unique live studio performance, featuring different lead vocals from Paul (with John backing him wher­ever he can remember the right words), the notable absence of any hand-clapping and an impressive guitar solo from George on lead. A most enjoyable, previously unheard piece.

Track 9 Take #2 of I Saw Her Standing There. Another terrific try, slightly cooled-down com­pared to the previous take, though. Still the same lead vocals, the same solos.

Track 10 A collection of three so-called 'Edit Pieces', registered here as takes #3 to #5. It's Paul who notably goes for gold here. Full of fervid shouting enthusiasm, yet patiently run­ning through the same lines of the song time after time. "Well my heart went boom, oh since I saw her standing there" ... all previously unre­leased.

Track 11 Takes #6 to #9. All four takes are false starts, although they are still brief, highly enjoyable snippets. Before running down take #6, Paul can be heard asking the others about the right tempo, and mnemonic-ing the exact order of his very own lyrics: "how could I dance, she won't dance, I'll never dance. Sssh!". Breaking down before finishing the first verse: "it's too fast anyway". And again, take #8, making a mistake in the intro: "I'm sorry." Straight on to take #9, a complete alternative run-down, messing with the lyrics here and there. Time for a mid-day lunch break.

Track 12 George taking the lead in take #7 of this Lennon-McCartney original. The first song was taped in the second recording session, starting at 2:30 in the afternoon. John shouts "I can't get off that" at the very end of the song.

Track 13 Overdubbing backing vocals and tap­ping drumsticks for the commercial version of take #6. This is track 2, take #8. Again it's John wondering: "The do-da, shall we just do it on the second verse like we said? Hello, hello."

Track 14 A noticeably slower version of this Marlow-Scott composed evergreen, covered by The Beatles with Paul on lead vocals and John backing him. Take #6.

Track 15 Another alternative version of the same song. It's Paul's vocals being double tracked here on the previous take #5, making A Taste Of Honey the onlydouble-tracked vocals tune on their debut LP.

Tracks 16 and 17 Obviously, There's A Place was one of the more troubled tunes being recor­ded, this being the eleventh take (track 2). This, and the following take #12 (track 2) are both harmonica overdubs on to the original take #10, making it all sounding a lot more like the final commercial version (a re-mixed take #13).

Track 18 More continuous work on Seventeen. Saved here is the original take #10, an unused overdub on to the previous take #9. Again, John slightly messes up the lyrics, sharing leads with a full-screaming Paul.

Track 19 The first take to add the well-studied hand-clapping. As we can hear now, it took our lads a full take #11 to find out where and where not to 'echo-clap'. Enjoy take #12, the last full version to be recorded. Included on the 'Please Please Me' album is an edit of this take #12 and take #9.

Track 20 The first take of Misery. The familiar piano arpeggio added later by George Martin, is performed here by George on guitar.

Track 21 Takes #2 to #6 of Misery, performed as live as is possible in the studio. Four false starts, leading to a complete take #6. Previously released. With the first-ever take going down so smoothly, it's surprising to hear how the boys, on takes #2 to #5, keep messing up the lyrics on numerous endings of the song. George is even interrupted for changing the tone during the solo: "I'll leave that out, give a little less body". John shouting: "Shall we go? Yeah, why not." Singing: "she won't come back no more", where it should have been: "I won't see her no more". John: "It's these damn words. I want, I won't."

Track 22 Takes #7 and #8 of still the same song. Take #7 sounds like the near-finished thing, though still missing the piano arpeggio which George martin was to add during an overdub session at Abbey Road, the following week, Wednesday February 20. (The Beatles were not present). Take #8 starts all too hope­fully, with Paul once again nervous about the right lyrics and, yes, it turn out to be another mess-up take. Three more to go before produ­cer George martin was finally satisfied.

Studio Sessions, March 5, Sept. 12, 1963

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After one year this material was released on CD "Studio 2 Sessions At Abbey Road, Vol.2 (YD 064)".

Спустя год этот материал был переиздан на компакт-диске "Studio 2 Sessions At Abbey Road, Vol.2 (YD 064)".

Track 1-14: recorded at Abbey Road Studios on March 5, 1963

Track 15-21: recorded at Abbey Road Studios on September 12, 1963

Liner notes:

Legend has it that the composing duo John and Paul penned their next number one hit From Me To You whilst resting in the back of a coach which took them from York to Shrewsbury, the next stop in their tour with Helen Shapiro. A million-seller in the making: Thursday February 28, 1963. "If composing is that easy, let's go write our own songs as well", friends Mick Jagger and Keith Richards must have commented to this tale. Anyway, having finished their Shapiro trip, The Beatles took to the Abbey Road studios on Tuesday March 5, 1963, to record their third successive UK single release. The A-side was to be Thank You Little Girl, backed with the newly-penned From Me To You. Even during the session, it was decided to change round and give the A-side to From Me To You. All in all, a total of thirteen takes of both tracks were recorded down in Studio Two. Twenty-six songs in just over six hours, and still they had time left to record five different takes of another Lennon-McCartney original: One After 909, taped as a noticeably slower version. However, producer George Martin deemed the final result unsatisfactory. One After 909 was archived for almost twenty years before being planned for release on the scrapped 'Sessions' project in 1984. The boys themselves held on to this song until a further six years later, when taping for their final album, 'Let It Be'.

From Me To You b/w Thank You Girl, The Beatles' third single in the UK, was released on Thursday, April 11, 1963. It topped the charts for weeks after.

Yellow Dog Records is now pleased to present this historic recording date as complete as can be. It's all here and saved: 13 takes of From Me To You, 13 takes of Thank You Girl and 5 full takes of One After 909. Sit back and enjoy.

Track 1 The first seven takes of From Me To You and all thirteen takes of Thank You Girl lack John's accompaniment on harmonica. These were recorded one week later, on Wednesday, March 13 during a fourteen-take long overdub session. Take #1 sounds like a very good first try until Paul, following the first verse, breaks down during his harmony vocals: "What happened?" "You tell me." "Oh I just thought I heard you talking actually, heard you whistle. Sorry!" Paul counting in for another try, a far from finished take #2, an enjoyable outtake which distinguishes itself by retaining a bluesy quality, despite the lack of any harmonica. Note that the opening vocal chorus has also been omitted in favor of strict instrumentation. Paul shouts: "Aaah, you missed the end..."

Tracks 2 and 3 Two new and previously unheard takes #3 and #4. Again, it's Paul coun­ting in for two very well renditioned versions. Also, the song seems to get some more tempo now.

Track 4 A quite enjoyable, previously unheard, take #5 of still the same song. John starts with explaining to the control room that George is now to play the first bit of instrumental, not the second. And to Paul: "Keep right into your har­monies this time." And indeed Paul does keep his harmonies and George doesn't solo on the second bit, which gives the song a totally diffe­rent character.

Track 5 Takes #6 and #7. The first is nothing more than a two-second long false start, the second a far from finished full take. Pretty much the same as the previously recorded take #5.

Track 6 The very first take of a song called Thank You Little Girl in this stage of recording. It starts off with John and Paul practising their Ooohs and Aaahs. There's some slight differen­ces in the lyrics: "All I wanna do", instead of "All I gotta do". And: "That seems too good to be true", where it would later end up to be, "That is too good to be true." Also note that there's still a very sober oah mmm oah mmm outro to the song.

Track 7 Paul counts in for another try, take #2. John: "Oooh and Aaah, the same as we did before." Takes #2 and #3 are brief false instru­mental drum-solo starts by Ringo, with take #4 being a full-length version, still lacking John's accompaniment on harmonica. The sober fade-out outro is still there.

Track 8 A previously unheard take #5 of still the same song. This time it's George counting in: one, two, three, four. Coming to the end of the tune, both John and Paul are messing up the right tone of their harmonized "Thank You Girl" verse, forgetting all about the Ooohs and Aaahs.

Track 9 Yet another unique bit from this histo­ric session. Having run down five takes already, the boys are now getting more and more into their own composition, every now and then favoring creatively impromptu solos. This is most noticeable during the outro, which has now changed from sober to quite energetic, no longer a clean fade-out but a banging drum stint by a raging Ringo.

Track 10 A collection of seven edit pieces to be mixed in with the previously recorded full versions. More Ooohs and Aaahs, heavy drum parts, occasional coughing and George Martin counting the different takes from the control room. John: "Can you hear me, if we went Oooh Aaah, to keep it on the beat." To Ringo obviously: "Just on D, we'd be whole together but you'd be so loud. Let's do the G one." The commercially released version of Thank You Girl was an edit of takes #6, #13, #17, #20, #21 and #23.

Track 11 And back to the A-side of a new hit in the making - once more it's From Me To You, track 2, take #8. Da da da da da dom dom da. A finished, delightful rendition, going straight into edit pieces 1 and 2, take #9. Note that this take #8 is the first one to include John's harmonica solos in the middle and final parts of the song. John: "Was I meant to be playing there?"

Track 12 As with Thank You Little Girl, the boys also taped a long series of edit pieces for the final mixing of From Me To You. Saved here are takes #10 to #12. This features a rehearsal of an alternative mmm mmm intro, with John practising his harmonica solos.

One After 909 is in every way a Lennon-McCartney original. Composed in their Quarrymen days, the song was first performed at EMI on September 4, 1962 whilst recording How Do You Do It, their planned first single on Parlophone Records. On this particular day, Tuesday, March 5, 1963, the boys spent some spare studio time returning to their 1959 classic once again. And again fate decided that their One After 909 recording efforts remained unreleased. Officially, that is. Yellow Dog Records now presents all five of the different versions recorded that Tuesday. A unique piece of musi­cal history.

Track 13 This first take starts with John practicing the first chords of the song, explaining to the other three to "just come in somewhere". Paul counting in. All goes well until the second part of the song - a sudden stop with a seeming­ly angry John shouting: "What are you doing, you're out of your mind. Pom pom pom. Get that bass-drum softer." Straight into a second take. A very clean, well-renditioned full version. The most notable arrangement difference in these five 1963 takes, compared to the officially released version from the 1970 Let It Be album is, besides a slowed-down tempo, strong lead guitarwork from George, used to accent the verses. Also note John quite frequently pro­nouncing the word Said as Shed, whilst on various occasions flubbing a lyric.

Track 14 Take #3. And again towards the end of the song Paul is the one to blame for messing things up. "What are you doing?" "It's murder, 1 can't keep it up, just go...." "Get a plec." "I haven't got one." "Well your clothes have been brought in hours ago." Then asking George to count in for take #4. It is John going the wrong way this time: "Bloody hell, I told you..." Paul, desperately trying to defend himself: "It's you who's messing up George, you're coming in wrong halfway through the solo." George: "Well, was it twelve-bar?" "Yeah." The follo­wing take #5 picks up where they left take #4. We now move on to the boys' second album "With The Beatles', released on November 22, 1963. The album collects seven new Lennon-McCartney numbers (now evergreens), George's composing debut Don't Bother Me and a selection of six cover-versions. Work on this million-seller LP started as early as Thursday July 18, 1963. Recordings continued the following week, on Tuesday, July 30. Following a tight programme of live performan­ces, it wasn't before the second week of September that the lads picked up sessions for 'With The Beatles' again. Wednesday, September 11 and Thursday, September 12 were spent inside studio two, taping Ringo's classic-to-be I Wanna Be Your Man and seven takes of Don't Bother Me. The following after­noon was largely used for work on one of Paul's: Hold Me Tight. Saved here are nine of ten recorded re-make takes. Also saved is a selection of four re-make takes of Don't Bother Me, taped later that evening.

Track 15 This is re-make take #21 from a total of 29 different versions recorded. Recordings for Hold Me Tight had started as early as February 11, when taping their debut album 'Please Please Me'. The lads needed another ten new takes before George Martin called the tune a completed one.

Track 16 Re-makes takes #22 and #23 are both incomplete run-throughs with Paul mes­sing up his own lyrics: "Oh bloody hell, I keep forgetting these first words." The following take #24 is a complete, alternative version.

Track 17 Track 2, takes #25 and #26 start with trying out where to add the handclaps. Then singing the first words: "It feels so right..." Take #26 is another full-length version, John and George sharing harmonized backing-vocals.

Track 18 "Stand by lads, 27 track 2." Take #27 is a false start, straight into a promising, though incomplete take #28.

Track 19 And still George in the control room wasn't pleased enough. On for a tiring twenty-ninth try, sounding mostly like the pre­vious twenty-eight to be really honest. The commercially released version of Hold Me Tight was an edit of takes #26 and #29, to be as complete possible.

Track 20 George takes the lead in take #10 of his composing debut. At this stage of recording, the brilliance of the middle solo-part sounds a lot clearer when compared to the official release. George is in obvious good humour, singing: "Rock 'n' Roll now, oh yeah" on the outro.

Track 21 Re-make takes #11 and #12 are false starts. "Hang on, hang on, it's going too fast." A final take #13, (takes #14 to #19 were overdubs onto this version) is another far from finished full rendition. One of these overdubs, take #15 to be precise, was the one used for commercial release.

The 2nd Recorded Hour Of The Let It Be Sessions

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Liner notes:

Tracks 1 to 4 The Beatles rehearsing, chatting and fiddling about at London's Twickenham Film Studios, taped on Thursday January 2, 1969.

Preserved here on disc four of this second volume of Yellow Dog's The Beatles Ultimate Collection is that long-forgotten first hours of this first day of recordings for what was initially to be a half-hour TV special: The Beatles At Work. Dennis O'Dell (head of Apple films) suggested this documentary film to accompany Paul's refreshing idea for the boys to stage just one more major public performance. In the end, these two weeks of tiring sessions at Twickenham Studios turned out to be rehearsals for their newly-planned motion picture Get Back, later to be re-named Let It Be: their final LP. The planned-for live show stint was even­tually agreed upon to be staged on top of their own London Apple offices, on January 30, 1969.

Filming and recording on The Beatles' ill-fated, confusing and most frustrating Get Back sessions started at London's Twickenham Film Studios in the early hours of Thursday January 2, 1969. Direction was by Michael Lindsay-Hogg, with Glyn Johns as a sound-engineer and one Tony Richmond being contracted as director of photography. The Beatles themselves operated as executive producers. In his 1971 interview to Rolling Stone, John Lennon fondly referred to these sessions as: "...the most miserable on earth". Over a period of two weeks, up to Wednesday January 15, the film crew registered something like ninety six hours of jamming, rehearsing, whistling, chatting, lunching, discus­sing, sometimes even playing and singing. All in all, an estimated total of some 200 to 250 songs; sometimes just a line or two, sometimes several complete run-throughs. They were dire perfor­mances, lacking any clear musical direction, mostly out of tune and time, and rarely played with any conviction. The repertoire ranges from their own new writings (Don't Let Me Down, I Me Mine, Maxwell's Silver Hammer, Octopus's Garden and Let It Be), on to a rich list of old Rock 'n' Roll standards (Blue Suede Shoes, Be Bop A Lula, Bad Boy and Not Fade Away), some Beatles-oldies (Help, Please Please Me and Strawberry Fields Forever) and a collection of yet to be released solo-titles (Every Night, All Things Must Pass, Teddy Boy, Jealous Guy and Let It Down).

After two weeks at Twickenham, The Beatles moved on to recording for Get Back at their own Apple Studios in Savile Row. It was here that they taped another thirty hours of repertoire and staged their famed 42-minute long rooftop concert, both guesting pianist Billy Preston. Following these long-running sessions were seemingly endless months of editing and mixing by three different producers: Glyn Johns, George Martin and Phil Spector. It wasn't before some sixteen months later, some nine months after the release of the new Abbey Road LP, that the finished Get Back product finally saw the light of day: Let It Be, an 88-minute motion picture and twelve songs, a 35-minute long LP, with first pressings housed in a deluxe cardboard box holding a 160-page colour photo-book.

The greater part of the sessions at Twickenham Studios still remains unreleased. Although parts have been made available on various under­ground records over the years, these have always been grabbed collections of little bits and pieces, mostly heavily edited and thus losing sight and sound of the overall unique atmosphere. With the release of these volumes of The Beatles Ultimate Collection, Yellow Dog Records is pleased to present all of the Beatles Get Back sessions as they were originally recorded at the time. Starting here with the first hours of that first day, complete and unedited.

Track 1 (Roll 5) The Beatles' version of George's newly composed Speak To Me, later to be released on Jackie Lomax's 'Is This What You Want1 LP (Apple Sapcor 6). Straight into an impromptu rehearsal of I've Got A Feeling, continued from roll four the previous hour. John and Paul sharing the lead vocals, singing the right chords. And again it's McCartney taking the musical lead, teaching the other three what his songs should sound like. What to play and even what not to play. George and John joking around: "Is that one called I've Got A Hard One?" Then singing: "Everybody had a hard one, oh yeah". All unreleased.

Track 2 (Roll 6) More rehearsals for I've Got A Feeling, continued from roll five. With John obviously being the only one really interested in friend Paul's teachings, it's the two of them dis­cussing and song-writing most of the time: "Put the Foot Down for about four or eight and then back into I've Got A Feeling and Foot Down." I see, I'll just repeat the first verse." "Yeah, take the two of them together. It's a bit scrappy around here." Practising riffs and long solos, yeah-yeah. All of this, previously unheard.

Track 3 (Roll 7) Starts with a long piece of quite interesting studio dialogue. It's Paul, direc­tor Michael-Lindsay Hogg and producer Glyn Johns chatting about recording The Rolling Stones' Rock 'n' Roll Circus, the terrible acoustics of Twickenham Film Studios and plans for traveling abroad staging a big out-of-doors thing.

Paul: "I just don't like this TV-show sound. It always endows us this farty little sound, like the old mime—shows we did, them playing our records."

Hogg: It all sounds too thin. You come down to The Olympic Studios one evening when finished here. A very full sound like a good live studio recording, and all play at once. I will play you some stuff I did on the Stones show. Great chunky and solid mixes. Criticize it and say how you want it different, if you like."

Paul: "Maybe, maybe. We might as well stay here and do it, see what happens. This place sounds terrible, now it may just be great. You can never tell with these places, but they are supposed to be terrible acoustically."

Hogg: "The sound of an open-air sound is fantastic. I was very taken by the place Dennis talked about, this amphitheatre in North Africa. The whole thing torchlit, two thousand Arab friends around...."

Paul: "I think you'll find we're not going abroad, 'cause Ringo just said he doesn't want to. Maybe we'll go abroad next time, but this time no. Ask Jimmi Nicol, he might wanna come abroad."

Johns: "Let's just see what we all feel like in a day or two. Also it's the weather, your English rain, which is worrying an out-of-doors thing at the end of the month in this country."

Paul: "It'd be nice to find somewhere to try and do it out of doors. To me it's the heat. I wouldn't mind playing in the rain. Snow or rain, do me. A frozen hand trying to play those notes. You might just have a few deaths on the
set due to electric shocks…”

And onto more I've Got A Feeling jamming. Next, it's George proposing: "It may be better to like, learn as much as we've learned of this one of all the rest. Rather than just know one perfect and having to come down there." Paul can only fully agree: "Okay, so we'll just do it a couple of more times. I've Got A Feeling..., sing it to me children." Styling his song in a Mick Jagger no-no yeah-yeah free rockery. "If we'd just write down the words and have the chords match. Let's do another song now, learn some new chords like you said. What shall we do next?" "Don't Let Me Down it is", says John.

Track 4 (Roll 8) More rehearsals for Don't Let Me Down. John and Paul going through the lyrics. Various verse—attempts and false starts. In­strumental intermissions. "What about having a piano or an organ on this? We can try it, better we should just learn them and see what's nee­ded. Problem is I don't know what order I'm doing in this, what repeats. Skip this little inter­lude. It's the first time I'm singing it. I'll just do it how I was doing it, the same until I think of something. I've just not sung it enough. What's better to repeat, what not. Just have it develo­ped." Finishing off with a rehearsal version of the song which sounds already quite a lot like the later, officially released, one.