- Format: FLAC
Chapter 12: Tomorrow May Rain ( 29 September 1964 - 06 January 1965)
Chapter 12 Volume 1: Tomorrow May Rain (19 September 1964 - 14 October 1964)
29 September 1964 Studio Session EMI Studios, London
01. I Don't Want To Spoil The Party RM1 (2:31)
WBC64-302. Mixed 26 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
As soon as the Beatles arrived to London from their first tour in the US they continue the recording of the Beatles For Sale Album whose sessions began on August 11 of the same year. In less than 5 hours, they recorded 19 takes of the song (just 5 takes were complete) plus 4 takes of "Every Little Thing" and 7 takes of "What You're Doing"! Bass, drums and acoustic guitar were recorded on one track, lead guitar on a second, John and Paul's vocals on a third, the remaining track was overdubbed with backing vocals and tambourine. This is the official release of the song as appeared on the mono pressings of the Beatles For Sale album.
02. I Don't Want To Spoil The Party RS1 (2:33)
WBC64-303. Mixed 4 November 1964.
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is the official release of the song as appeared on the stereo pressings of the Beatles For Sale album. The differences between mono and stereo mixes of this song are negligible: the stereo mix lasts only 2 more seconds than its mono counterpart. According to John C. Winn the mono and stereo mixes presents small differences in the level of George's guitar.
03. America (2:30)
WBC64-304
Source: Rory Storm & The Hurricanes: The Complete Works
Ringo appeared as a guest on a session produced by Brian Epstein for Rory Storm and the Hurricanes. "America" was recorded by this group for the musical West Side Story. Ringo contributed playing percussion. According to Winn Ringo possibly added backing vocals to the chorus of the song.
04. Every Little Thing (RM1) (1:58)
WBC64-305. Mixed 27 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
On this day takes 5-9 of the song were recorded. Take 9 was deemed best. The song presents for the first time a new instrument: a timpani that appeared on take 9 along with the guitar intro and piano. This is the stereo version that matches the mono UK pressings of the Beatles For Sale album.
05. Every Little Thing (RS1) (2:02)
WBC64-305. Mixed 27 October 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is the stereo version that matches the mono UK pressings of the Beatles For Sale album. It last a little longer than its mono counterpart.
06. What You're Doing (take 11) (2:01)
WBC64-306A
Source: Turn me on Dead Man: The John Barret Tapes [Vigotone 1999] / Mythology 2 Strawberry Records 1999]
On this day takes 8-12 of "What Your Doing" were recorded. For the moment, Take 11 was deemed best though it was going to be remade on October 26. This version differ from the final "in that its breaks between choruses were less tight, the middle eight instrumental break was performed an octave above the vocals and it had a 1˝ second pause proceeding a reprise instrumental coda" [TBRS, p. 49]
07. No Reply (take 1) (0:40)
WBC64-306B
Source: Abbey Road Video Show [Strawberry Records 1999]
The recording of this song was started and concluded in 8 takes during the long September 30 session. Lewsisohn states that by the time John's voice was beginning to wilt that's why at the end of this take John couldn't hit the higher note on "I saw the light".
08. No Reply (take 2) (2:26)
WBC64-306C
Source: Anthology 1 [EMI/Apple/Capitol 1995]
This is "No Reply" take 2 mono though the Anthology 1 booklet states it's stereo.
09. No Reply (take 2)
Source: Anthology
This is the DVD mix of No Reply.
10. No Reply (Take 8)
Source: Anthology
This is from the CD of Anthology
11. No Reply (Take 8)
Source: Anthology
This is from the DVD of Anthology
12. No Reply (RM2) (2:13)
WBC64-306D, Mixed 16 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
Take 8 was considered best "although a lot of echo was applied to John's voice at remix stage" [TBRS, p. 49]. This is the official release of the song as appeared on the mono pressings of the Beatles For Sale album.
13. No Reply (RS1) (2:14)
WVC64-306E, Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is the official release of the song as appeared on the stereo pressings of the Beatles For Sale album.
3 October 1964 TV Performance The Granville Studio, London "Shindig"
14. Kansas City/Hey Hey Hey Hey! (2:43)
15. I'm A Loser (2:19)
16. Boys (2:05)
WBC64-307 ABC-TV (US) Shinding
Source: In Case You Don't Know [Spank Records 1994]
The Beatles were videotaped performing for the American ABC-TV series Shinding which was generally recorded in Hollywood but this time moved to London for ease reasons. "I'm A Loser" was played for the first time. According to John C. Winn, only the vocals and some harmonica parts played by John are live. On the other hand, he states that the date and location were the backing tracks were recorded is unknown they could be recorded during Granville's rehearsals or at Abbey Road; nevertheless they could be recorded at IBC Studio during Around The Beatles show.
6 October 1964 Studio Session EMI Studios, London
17. Eight Days A Week (take 2) (0:49)
WBC64-308A
Source: Anthology 1[EMI/Apple/Capitol 1995]
"Eight Days a Week" faded-up intro hadn't been conceived by the moment that the Beatles enter to record this song at EMI Studio 2, instead there was just John and Paul singing a fine harmonised "Ooh" intro accompanied with clapping and acoustic guitar. Their vocals went on track 3 of the tape while handclaps, acoustic guitar and bass were on track 1. According to Winn the tape originally lasted 2:49.
18. Eight Days A Week (take 4) (0:08)
WBC64-308-B
Source: Anthology 1[EMI/Apple/Capitol 1995]
Take 4 was a false start. It began with "ooh" accompanied by clapping and acoustic guitar but John missed his guitar entry that's why they went to take 5.
19. Eight Days A Week (take 5)
WBC64-308-B
Source: Anthology DVD
Take 5 also presents the "ooh" intro accompanied only by John's acoustic guitar; the clapping is not present now. Electric guitar, bass and drums joins in at the beginning of the first verse in the same way as the final version.
20. Eight Days A Week (take 5)
WBC64-308-B
Source: Anthology 1[EMI/Apple/Capitol 1995]
Take 5 also presents the "ooh" intro accompanied only by John's acoustic guitar; the clapping is not present now. Electric guitar, bass and drums joins in at the beginning of the first verse in the same way as the final version.
21. Eight Days A Week (incomplete)
Source: Anthology DVD
An alternate mix.
8 October 1964 Studio Session EMI Studios, London
22. She's A Woman (take 1) (1:18)
WBC64-309A
Source: Abbey Road Vide Show [Strawberry Records 1999]/ Another Sessions... Plus [Vigotone 199]
This session was dedicated to record a new McCartney's blues-style vocal song completed in only 7 takes. Take one show a different guitar style (rockabilly) instead of the syncopated style present in later takes.
23. She's A Woman (take 2) (3:13)
WBC64-309B
Source: The Ultimate Collection, Volume Three: Studio Sessions [Yellow Dog 1994]
Take two opens with the characteristic syncopated accompaniment and its well known melodic bass line, tough Ringo hasn't decided yet to use hi-hat or ride cymbal (patent at the ending of second verse). Due to the song's high vocal pitch, Paul's voice cracks at "love forever and forever" line.
24. She's A Woman (take 3) (0:15)
WBC64-309C
Source: The Ultimate Collection, Volume Three: Studio Sessions [Yellow Dog 1994]
After George Martin's announce and Paul's count in, take three begins but it doesn't go too far since George's guitar is out of tune. This take is no more than a couple of false starts.
25. She's A Woman (take 4) (3:24)
WBC64-309C
Source: The Ultimate Collection, Volume Three: Studio Sessions [Yellow Dog 1994]
"Take four begins with another false start (Ringo doesn't come in cleanly), but before a new take number can be announced, they start the song again for a complete but sloppy version" [WBC, 291]. This version, quite similar to the final (take 6), doesn't present a guitar solo.
26. She's A Woman (take 5) (or takes 7?) (6:26)
WBC64-309D
Source: The Ultimate Collection, Volume Three: Studio Sessions [Yellow Dog 1994]
"She's A Woman" take five, identified by George Martin as take 7, presents a long three minute jam at the end of the song showing us Paul's great vocal abilities ŕ la Little Richard.
27. She's A Woman (take 5)
WBC64-309D
Source: Acetates Collection
28. She's A Woman (take 6)
Source: Acetates Collection
29. She's A Woman (take 7-8)
Source: Acetates Collection
30. She's A Woman (dry stereo mix) (3:06)
Source: Anthology (Audifön Records)
This is a unique "dry" stereo mix of the song appeared in the 1995 Anthology album by Audifön Records.
31. She's A Woman (RM1) (3:00)
WBC64-310A Mixed 12 October 1964
Source: UK Singles Collection Vol. 1 (DESS 2005]
This is the mono version of the UK "I feel Fine/She's A Woman" single. It lasts 2 more seconds than its US single counterpart.
32. She's A Woman (unedited RS1) (3:01)
WBC64-310D Mixed 12 October
Source: The Beatles EP [EMI/Parlophone]
This is the stereo mix of this song featuring Paul's count-in.
33. She's A Woman (RM2) (2:58)
WBC64-301C Mixed 21 October 1964
Source: Beatles '65 (US Mono) [DESS 2005 Upgrade]
This is the "dexterized" version, named after Dave Dexter, the Capitol Engineer who made the mono mix. It fades out earlier than the UK mono mix.
Source Material:
WBC = Way Beyond Compare: The Beatles' Recorded Legacy (Volume One 1957-1965) by John C. Winn
TCBC=The Complete Beatles Chronicles by Mark Lewisohn
TBRS=The Beatles Recording Sessions by Mark Lewisohn
"The Come Together Project is an open-source effort by fans/collectors to create the definitive chronological audio set of known Beatles recordings from the best and most complete sources into an ongoing series of CD Book sets to improve the means of study and appreciation of the history and progress of the world's greatest band, The Beatles. Book 1 is the Beatles years, and the Chapters are divided into time frames."
Some tracks in this chapter have only circulated within collecting circles and are being issued for the first time.