Chapter 12 Volume 2: Tomorrow May Rain (15 October 1964 - 19 October 1964)
Audio Compiler: m18r18
Liner Notes: TJT/Polo Zappa/Magoocus/John C. Winn/Mark Lewisohn
Pictures: Wizz/Starshyne/Chazz Avery/Wogew/Ken Wood/Magoocus
15 October 1964 unknown hotel, Stockton-on-Tees
01. Interview (2:56)
WBC64-314
Source: Rare Photos & Interview CD, Volume One.
Being the General Election day "the main topic of the interview was politics, although none of the group showed any interest in the matter" (WBC, p. 293).
18 October 1964 EMI Studios, London
02. Kansas City/Hey Hey Hey Hey! (take 2) (2:42)
WBC64-315A
Source: Anthology 1[EMI/Apple/Capitol 1995]
In-between their UK concert tour and during a supposed rest day the Beatles went to Studio Two to record the remaining songs for their next LP and single. The first song in the agenda, "Kansas City/Hey Hey Hey Hey!" needed just two takes, although take one was deemed best. The version presented here doesn't have George Martin's piano overdub.
03. I Feel Fine (take 1) (1:42)
WBC64-315B
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
The song that was going to become the A-side of the Beatle's next single needed only 9 takes to accomplish, although many of them were false starts. Take 1 is a partial take performed in the key of A instead of a lower G key. After the third verse (where John sings "That her baby gets her things you know") the song stops. Due to the higher key of this performance it seems that John is having trouble with his vocals that's why he asks George Martin if "did it sound too strained?" The "electronic accident" that opens this song begins with a bass note plucked by Paul (left channel) and continues with John's guitar getting feedback (right channel); this opening is already present at this early stage. "I Feel Fine" has bass and drums on track 1, John's amplified Gibson J-160 and George's electric guitar on track 2, and John's vocal on track 3. The overdubs were added afterwards.
04. I Feel Fine (take 2) (1:35)
WBC64-315C
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
Take 2 is also a breakdown.
05. I Feel Fine (take 5) (stereo) (2:26)
WBC64-315D
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
Paul suggests at the beginning of this nearly complete take not to let the guitar feedback last too long. "The guitar phrasing is cleaner. John is again delivering his vocal, but it is growing clear that playing such an involved guitar line while singing may not the best thing. Lennon's vocal phrasings are at times limited. Overdubbing onto a completed backing track may be best". (BZ, Unsurpassed Masters, Vol. 7 liner notes)
06. I Feel Fine (take 6) (2:46)
WBC64-315E
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
This take opens with George practicing his solo on "She's A Woman" and after the aware that the tape is "running!" a quite long guitar feedback-opening gives entry to an instrumental version of the song.
07. I Feel Fine (take 7 announcement & chat) (0:14)
WBC64-315F
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
Take 7 was another false start. It seems that George is goofing with a riff from the song "Tequila".
08. I Feel Fine (take 8) (0:05)
WBC64-315G
Source: Sgt. Pepper's Lonely Hearts Club Band: A History Of The Beatles Years
Buried under dialog, take eight was "another false start caused by a crackling guitar lead" (WBC, p. 295)
09. I Feel Fine (take 9) (2:30)
WBC64-315H
Source: The Ultimate Collection, Volume Three: Studio Sessions, 1964 [Yellow Dog, 1994]
Vocals and guitar solo superimpositions that went on track 3 of the tape. These overdubs were then doubled on track 4. In short: rhythm (drums and bass) went on track 1, John and George guitars on track 2, vocals and guitar solo on track 3, and vocals and guitar solo again on track 4 (RTB, 379).
10. I Feel Fine (RM3) (2:21)
WBC64-315I Mixed 21 October 1964
Source: UK Singles Collection Vol. 1 (DESS 2005]
Two mono mixes of this song were released. RM3 (from take 9) was released as a single in the UK. It has some echo mainly on the vocal and lasts a couple of seconds longer than RM4.
11. I Feel Fine (RM4) (2:19)
WBC64-315J Mixed 21 October 1964
Source: Beatles '65 (US Mono LP - Capitol) [DESS 2005 Upgrade]
This is "I Feel Fine" mono mix 4 saturated with echo. It was released as a single in the US.
12. I'll Follow The Sun (RM1) (1:46)
WBC64-315K Mixed 21 October 1964
Source: The Beatles - Beatles For Sale (UK Mono) [DESS 2003]
This day were recorded takes 1 to 8 of "I'll Follow The Sun" being take 8 the "best". "This take was the first to feature a lead guitar solo in the middle eight, a point in previous takes preserved for an acoustic break" (TBRS, p. 50). It has acoustic guitar and percussion on track 1, electric guitar (rhythm) on track 2, vocals on track 3, and George's guitar solo on track 4. RM1 is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale album
13. Everybody's Trying To Be My Baby (RM1) (2:22)
WBC64-315L Mixed 21 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
Carl Perkins' "Everybody's Trying To Be My Baby" needed no more than one take. This song has drums, bass and electric guitar (John) on track 1, George's guitar on track 2 and George's lead vocal on track 3 (plastered with echo). Tambourine and George's second vocal were overdubbed on track 4. RM1 is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale album.
14. Rock And Roll Music (RM1) (2:28)
WBC64-315M Mixed 26 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
This Chuck Berry's classic was also recorded in only one take. This song has drums and bass on track 1, John and George's guitars on track 2, John's slightly echoed vocal on a third. "To fill the four track, John, Paul and George Martin all simultaneously pounded the keys of the studio Steinway in an attempt to duplicate Johnnie Johnson0s original piano part" [WBC, p. 295]. RM1 is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale album .
15. Words Of Love (RM1) (2:10)
WBC64-315N Mixed 26 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
The last song recorded on October 18th recording session was Buddy Holly's "Words of Love". It was recorded in three takes. "Take three -with overdubs added onto take two- was the 'best'" [TBRS, p. 50]. This song has drums and bass on track 1, John and George's guitars on track 2; Johns lead vocal on track 3. John and Paul's vocals, hand clapping and George's lead guitar were overdubbed onto track 4. RM1 is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale LP.
16. Kansas City/Hey Hey Hey Hey! (RM1) (2:30)
WBC64-315O Mixed 26 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
Two takes were recorded of "Kansas City/ Hey Hey Hey Hey!" though take 1 was considered "best". This song has: drums, bass and guitar on track 1, George's guitar on track 2, Paul's vocals on track 3, piano, handclaps and vocal overdub were added to track 4. RM1 is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale LP.
17. Kansas City/Hey Hey Hey Hey! (RS1) (2:37)
WBC64-315P. Mixed 26 October 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
RM1 is the official stereo mix of the song and appeared on the stereo pressings of the Beatles For Sale LP. It lasts seven seconds longer than its mono counterpart.
18. Mr Moonlight (edit of RM1/RM2) (2:32)
WBC64-315Q Mixed 27 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
On 18 October was recorded a remake of "Mr Moonlight", which consisted of takes five to eight. "Although Take eight was deemed to be 'best' , by take six they still had to think of the addition of Paul's playing the Hammond organ" (TBRS, p. 50) this song follows the usual track scheme of this days: bass, guitars and conga on track 1, Paul's Hammond organ on track 2, John's lead vocal on track 3, and backing vocals on track 4 of the tape. John's initial vocal scream proceeds from take 4 (recorded August 14th) "was edited onto the front of take eight to produce the final master" (WBC, p. 294). This is the official mono mix of the song and appeared on the mono pressings of the Beatles For Sale LP.
19. Eight Days A Week (edit of RM2/RM3) (2:40)
WBC64-315R Mixed 27 October 1964
Source: Beatles For Sale (UK Mono) [DESS 2003]
The 18 October recording session was devoted to record edit pieces for the intro and outro of "Eight Days A Week" though the intro was never used. This mix appeared on the mono pressings of the Beatles For Sale LP.
20. Eight Days A Week (edit of RS1/RS2) (2:42)
WBC64-315S Mixed 27 October 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is mix appeared on the stereo pressings of the Beatles For Sale LP. The outro edit piece can be heard at 2:34.
21. I'll Follow The Sun (RS1) (1:46)
WBC64-315T Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This song has acoustic guitar and percussion on track 1, electric guitar (rhythm) on track 2, vocals on track 3, and George's guitar solo on track 4 of the tape. There is little difference between the mono and stereo mixes. See track 41 for more info about this song. This mix appeared on the stereo pressings of the Beatles For Sale LP.
22. I'll Follow The Sun (Anthology DVD Stereo Mix) (1:48)
Mixed: 2003
Source: Anthology DVD (Apple)
This mix appeared on The Beatles Anthology DVD.
23. Everybody's Trying To Be My Baby (RS1) (2:23)
WBC64-315U Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This song has drums, bass and electric guitar (John) on track 1, George's guitar on track 2 and George's lead vocal on track 3 (plastered with echo). Tambourine and George's second vocal were overdubbed on track 4. This mix appeared on the stereo pressings of the Beatles For Sale LP. There are no differences between the mono and stereo mixes.
24. Rock And Roll Music (RS1) (2:30)
WBC64-315V Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is mix appeared on the stereo pressings of the Beatles For Sale LP. There are little differences between the mono and stereo mix, for example, in RS1 "the piano track is mixed out from 1:43-1:47, perhaps to cover a goof" (WBC, p. 295)
25. Rock And Roll Music (Anthology DVD Stereo Mix) (2:30)
Mixed 2003
Source: Anthology DVD (Apple)
This mix appeared on The Beatles Anthology DVD.
26. Words Of Love (RS1) (2:03)
WBC64-315W Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This is mix appeared on the stereo pressings of the Beatles For Sale LP. The main difference between the mono and stereo mix of this song is that the first is seven seconds longer than the latter. See track 44 for more info about this song.
27. Mr Moonlight (edit of RS1/RS2) (2:37)
WBC64-315X Mixed 4 November 1964
Source: Beatles For Sale (UK Blue Box Stereo) [DESS 2006]
This mix appeared on the stereo pressings of the Beatles For Sale LP. The main difference, compared to its mono counterpart, is that this mix has an extra long fade.
28. I Feel Fine (unedited RS1) (2:18)
WBC64-315Z
Source: 1962-1967 (UK)
This mix has the "whisper intro" where someone (maybe Paul) says "is low enough" before the song starts.
29. I Feel Fine (Anthology DVD Stereo Mix) (2:19)
Mixed 2003
Source: Anthology DVD (Apple)
This mix appeared on The Beatles Anthology DVD.
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
RTB=Recording The Beatles by Kevin Ryan & Brian Kehew
"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."
The sequencing and numbering system is based on John C. Winn's fabulous book Way Beyond Compare (WBC) by permission of the author.