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Beatles For Sale: Notes

.. contents::
Just like the previous two editions, Volume One of Beatles For Sale is
two discs long, while Volume Two is only one disc.
Volume One
---------Disc 1
Track 1 is the stereo mix of I Feel Fine, first used on A Collection Of
Beatles' Oldies in 1966 (which was the source used here, from Dr.
Ebbetts). Purple Chick has edited on the "whispering intro" from the UK
vinyl release of 1962-1966. This is presumably noises from the master
tape just before the song started, but could also be on a separate
leader tape attached to the mix later (it sounds like John saying
"going up", so it's probably *a* Beatles tape, even if it's not from
this session).
Track 2 is the "clear" stereo mix of She's A Woman from the EMI EP
Collection, but without the count-in heard there. This is the same
stereo mix used on Past Masters and a 1967 Australian greatest hits
release, but from a much dryer (less reverb) transfer.
Tracks 3-16 are the Beatles For Sale album proper, and are sourced from
Dr. Ebbetts' Blue Box stereo. Mr. Moonlight (track 8) has the slightly
longer ending from DESS Beatles '65 edited onto it by Purple Chick.
Track 17 is the mix of Leave My Kitten Alone from the Anthology DVD.
Unlike the mix used on Anthology 1, this actually sounds like stereo.
Barrett says the tape ended before the song was finished, but Lewisohn
says it was simply an abrupt stop. Either way, it fades early here. The
complete ending is heard on Volume Two.
Tracks 18-21 are new stereo mixes from the Anthology DVD. They aren't
particularly different than the standard mixes, and Purple Chick notes
that the fragment of Eight Days A Week doesn't sound any different from
the common stereo mix.
Brennan reports that Eight Days A Week was remixed for the CD
re-release of 1962-1966, but admits that it sounds identical to the
common stereo mix. As with the A Hard Day's Night tracks used on that
compilation, this might be a remaster that was reported as a remix.
In any event, the 1993 CD variant (if it is one) isn't used by Purple
Disc 2
The first two tracks are the mono single mixes of I Feel Fine and She's
A Woman sourced from Dr. Ebbetts' UK Singles Collection.
Tracks 3-16 are the album tracks from Dr. Ebbett's UK mono release.

Track 17 is the Anthology 1 mix of Leave My Kitten Alone, folded into

mono. The track as heard on Anthology 1 has a weird stereo effect: the
drum track is heard from the left and right channels while everything
else is in the centre. This might even be a fake stereo mix created
from John Barrett's mono mix (see below) by Geoff Emerick in 1984 for
the Sessions_ project. It's quite possible that the only true stereo
mix of this song is the Anthology DVD mix on Disc 1.
Tracks 18 and 19 are the mixes of I Feel Fine and She's A Woman as
released in the US, with an **incredible** amount of reverb added. Many
North Americans prefer these mixes to the "standard" versions, as these
are what they heard until 1982. The duophonic remixes of these are
*not* included. Brennan calls the duophonic I Feel Fine "the most
distorted Beatles cut Capitol ever created".
Track 20 is not listed on the cover art, but is a bonus track sent out
as an update from Purple Chick. It's John Barrett's 1982 mono mix of
Leave My Kitten Alone, but sounds nearly identical (aside from sound
quality) to the fold-down of the Anthology 1 mix of that song on track
Volume Two
---------This disc starts out with the complete session for I'm A Loser, eight
takes recorded on August 14, 1964 onto tape E53614. This is followed by
take 1, the announcement of take 2, and take 4 of Mr. Moonlight from
the same session and tape. This song was remade on Octber 18, but
although the tape recorded that night has been bootlegged (see below),
the remake of this song hasn't been.
Following this are take 4 of Leave My Kitten Alone, a false start, then
take 5, the "best", both from a poor quality dub (mono mixdown?) of
tape E53615, recorded late in the evening of August 14. Lewisohn says
take 3 had a *searing* Lennon vocal, but it doesn't seem to have been
After their first full
returned to the studio
take 11 of What You're
This was the best take

North American concert tour, the Beatles

in late September. First from those session is
Doing, recorded on tape E53967 on September 30.
until it was remade (again) on October 26.

Next are the first two takes of No Reply from the same tape and
session. Compare the drumming styles and similar mistakes on the "your
face" line to see why Brennan thinks the demo on Anthology 1 and Purple
Chick's own A Hard Day's Night Deluxe Edition was recorded at the same
time as these tracks (and not in June).
A week later, the band began recording Eight Days A Week. Included here
are parts of take 2 edited into the false start of take 4 and finally
take 5. These were recorded October 6 onto tape E54078. These takes
show the early stages of the song, with a harmonized vocal intro and
outro instead of the fade-in used in take 13 (used for the master -the first time a pop song had a faded introduction).
On October 8, the Beatles recorded seven takes of She's A Woman onto
tape E54090, the first six of which are presented here. Take six was
used as the master, and here includes Paul's count-in which was heard
on the stereo EP release but cut from disc 1 of Volume One of this set.

Take five is called as "She's A Woman, take five, is it? Take seven."
Track 26 is take two of Kansas City / Hey-Hey-Hey-Hey!, recorded on
October 18 onto tape E54294. Take one turned out to be better, and was
used as the master.
Tracks 27-33 are seven of the nine takes recorded that same night of I
Feel Fine (the first five onto tape E54294, the rest on E54295).
Advertised at the time as an "electronic accident", the feedback on the
final recording was heard to be intentional from take one on. This
marked the first time feedback was deliberately added to a recording,
created by Paul plucking a single bass string and allowing amplifier
feedback from John's electrified accoustic guitar. The amplification is
especially loud: listen to the snare drum rattling in the left channel
through most of the recordings when John is playing the song's
distinctive riff. Take six is instrumental only. Take seven is only the
take announcement and a Beatle performing part of The Champs' Tequila.
Take eight is a brief spoken word piece from Paul and George over the
intro of the song. Take nine is used as the master, and includes the
"whispering intro". It's also the first to include the lead guitar
Track 34 is a brief portion of What You're Doing recorded on October 26
onto tape E54316, with Paul inquiring about the quality of his bass
playing. This is listed as take five, but takes 13-19 were recorded
that night. Is this a transcription error for fifteen, or for the fifth
take recorded (17) since it was a remake? Incidentally, Lewisohn notes
that this evening was the first time the Beatles were known to be
present for a mixing session.
Tracks 35-37 the same takes of Mr. Moonlight as tracks 9-11, but taken
from the mono mixes made for Anthology 1 and the original Anthology
video release.
Track 38 is the "Ultra Rare Trax" mix of Leave My Kitten Alone, which
sounds not much different than the Anthology 1 mix (fake stereo,
possibly with seperate reverb for the left and right tracks) but fades
a little earlier.
Track 39 is from an acetate of take five of She's A Woman. This was
taken from "The Beatles Acetate Collection", which lists it as being
from a two sided disc: one with take six and the other with take
*seven*. Does this indicate that the second announcement on track 24 is
the accurate one?
Tracks 40 and 41 are mono mixes from the Anthology video of tracks 15
and 34, respectively.
-----------The Beatles Deluxe Editions By Purple Chick
The BeatleSource

Brennan, Joe. The Usenet Guide to Beatles Recording Variations

Lewisohn, Mark. The Beatles Recording Sessions
Lewisohn, Mark. The Complete Beatles Chronicle
Spizer, Bruce. The Capitol Albums - Duophonic Delights & Mono Mishaps
Winn, John C. (ed.). John Barrett's Notes
.. _Sessions: http://www.vex.net/~paulmac/beatles/sessions.html