To those new to "What Goes On" - a brief introduction ...
Hello! You've found what's become one of the definitive rec.music.beatles collections of Beatles' melodic mishaps. Originally started back in early 1992 by Michael Weiss, the anomalies list grew out of a fascination with the little sounds and curiosities which can be found within the Beatles' recordings. A concerted effort by Michael and myself, plus many contributors from the net results in this list.

So define an "anomaly" then?
Well, it's difficult, as it is a subjective thing! But I'd say it's any sound which some people feel shouldn't really be there, and in a perfect world, wouldn't be there! Something which, years later, people are finding and saying, "So what caused that?", or "What did he say again?". Examples are edits which stick out (where takes have been joined together), vocal chatter not directly part of the record, recording glitches .... It's not only limited to mistakes -- a mistake is an anomaly, but not all anomalies are mistakes. I've updated a few entries where people seem to have regularly missed the point of the anomaly listed, and mailed me to say "but that's intentional" (e.g. the count in on Dig A Pony -- I know there is meant to be a count in there, but does this little shambles sound like a regular count in? No! So here's a transcript of that weird count in!). So don't think of this as a list of mistakes. Just to be clear, it is a list of anomalies, "something that deviates from the general rule or the usual type, an inconsistency" [OED].

Just as a side note, with the release of new material since the last update, I am not accepting anomalies from Anthology 1-3, or the singles Real Love and Free As A Bird. Really, none of the material was intended to be heard like that (unlike the regular singles and albums), and I don't see it is fair game. They are alternative (read: rejected for release) and incomplete tracks, and so it is to be expected that there are anomalous things there. Bit of a contradiction, but there you go. However, the released tracks -- they're a different matter!

If you still want to point out an anomaly in Anthology tracks, by all means do - I'll listen for curiosity's sake, but it's unlikely to be included in the list. * NEW * Having said that, some transcriptions of some of the chatter in Anthology can be found in Appendix B I can hear a French/German/Swedish language anomaly, am I mad? Probably. But you're not alone. I've received a small number of foreign language anomalies. Most of these are, in my biased opinion as an English speaker, English with poor intelligibility. However, when heard by a speaker of another language, it can sound like a sensible "foreign language anomaly". Some even seem to make sense in context. So if you have any to add, please do. Those I have received so far are filed for inclusion in a separate section.

How do I hear them?
Well, here's probably the best excuse you've got for listening to your entire Beatles collection again! Seriously, some are easily heard, others only come after being pointed out. Others may need a little technical wizardry to bring them out, even for sharp ears - more on this later! But a good pair of headphones, a clean record (or a CD) and often plenty of treble make the little details stand out.

If I hear one, and it's not in the list, what do I do?
What if I think you're wrong?
I want an argument about an entry in WGO!!
Email me! - I'm still collecting anomalies, although the law of diminishing returns applies - as time goes on, they get harder to find. Despite the long periods of time between updates, I am still gathering new entries and corrections to existing information. You can reach me at anomaly@pootle.demon.co.uk :- feel free to become another contributor to the list. If it's an argument you want, you'll have to pay me first ....
Any contributions are gratefully welcomed and acknowledged, specially details of what mixes/media these can and can't be heard on, eg "single only","not on stereo mix", as some anomalies only exist on a particular version.

I did that, but my mail didn't get through? What happened?
If your mail is rejected (bounced) with an error (Service Unavailable), then you are posting from a site which I have had to put a block on due to the number of people from that site sending junk mail. As I have a web page, and post to Usenet, I attract junk mail, as do many others. I don't particularly want to receive it! So in the absence of responsible ISPs, I'm blocking a good number of junk mailing sources. This doesn't necessarily mean you, but it means a number of people at your site have recently caused a problem. If you have an account at another site, send it via that. This should not affect the majority of people, but you have been warned!

Version 3.07?
* NEW * Version 3.07 comes as a web site, plus this ASCII version, and a PKZipped version of all of the HTML pages for offline browsing. Version 3.07 contains nearly 300 updated or added entries, and a small number of minor corrections to time references.
I have to thank a number of people who have converted WGO 3.03 and earlier into HTML for their own pages - this has brought a new audience to WGO. I also should thank Demon Internet for hosting this virtual web site. Please link to this document, rather than copy it, unless you plan to do some major layout change, or something wizzy with it, in which case drop me a note so I can add a link back to your version... I haven't tried to be too clever with the formatting, knowing that not all browsers are capable of every feature. However, some people have asked me to list by album and song order, so the WWW version reflects both alphabetical and by album ordering.
Changes, corrections or additions from the last version are marked with * NEW * so you can find the new ones easily.

What's this technical wizardry?
Due to the mixing of many Beatles tracks, some sounds can be brought out very clearly by removing others. An effect called OOPS (Out Of Phase Stereo) can be used to do this. By taking the left and right signals from a stereo source and adding them, you get an ordinary mono signal. If you phase shift/invert one channel, and then add them, you have an OOPS'd signal. It means that any material in the centre of the stereo image will cancel out, any material that has been panned Left and Right, but in different phases, will add up.
This is often used in vocal eliminators (a la karaoke machines) to zap the centre channel, usually the vocals. The Beatles didn't keep this rule, fortunately, and so (for example) "Birthday" OOPS's into just the vocals, and no music!
I use a home built unit to do this, as it allows me to adjust the cancellation position to remove more than just the centre. You can often do it cheaply, with no equipment by reversing one of your speaker or headphone leads to put the sound out of phase, or disconnecting the common ground (see Appendix A). It doesn't work as well as doing electronically though :) Tim Scott offers the following advice:-
"Basically if your CD player (or whatever you will be using) is wired in stereo to your amp, by bridging your speaker the left channel will push the driver while the right channel will pull it. Thus any signal which is equal to both will be cancelled out, thus giving OOPS. Connecting both of the negative outputs doesn't seem to make any difference to the signal. but this is how i have been taught to bridge professional power amps so there must be a reason. Maybe it's something to do with professional amps having circuit logic checks in them which need the two negative poles shorting otherwise it thinks there is a fault. I dunno. Anyone help? If however you had a mixing desk and power amp (instead of a hi-fi system) and had your CD feeding through two mono channels you could then use the pan control to affect how much of the centre channel is cancelled."
For those with a soundcard, you can sample the sound into your computer, and using a program like CoolEdit 1.53 for Win 3.1 and Win 95 on PC -- you can invert one channel, and then sum them together.
This removes the sound common to both channels - there is a preset for doing this called "vocal cut". This is very effective if the sound is sampled well (centred right, in phase). Alternatively, extract the track from a Digital Audio Extraction capable CD-ROM drive, or CD writer.

Do not confuse with ...
The Beatles Variations List by Joe Brennan which deals with changes between different releases (UK, US etc) and between different media (LP/CD/Cassette). I only list some of these variations (e.g. mono only, CD only) where I know there is an anomaly that is only present on one or the other format.

So here goes the latest Anomalies List - Enjoy!

Act Naturally
2:18 Right hand harmony sings "All I gotta do is, act natch" and is then cut off by the guitar!
2:25-2:26 Numerous rattles and hisses in outro, left and right. * NEW * John almost misses entirely the last strummed acoustic chord!

 A Day In The Life
1:43 Switch click as orchestra comes in (Right)
1:44-2:16, 3:50-4:19 Mal Evans is heard counting the bars from 1 to 24; only about the first dozen are audible, starting at about three to 12
2:17 Right ear - intake of breath
2:18 An alarm clock sounds to mark the end of the first 24 bars. [1]
2:18-2:20 Someone says "One" to mark the downbeat. Quieter, but audible on the CD is the trailing "two three four" (right)
2:42-2:48 Just before and after the words "had a smoke", Lennon starts talking and carrying on, most audibly a loud "hoooo" under the word "smoke" (Right)
2:58 (Left channel) sounds like a cough
4:50-4:52 A chair squeaking (three creaks total).
Also reported as a "nose sniffle", paper rustling, someone saying "Shh!", sustain pedal being released on the piano
4:52-end * NEW * I'm failing to verify reports I occasionally get of the sound of an air conditioning fan in this area of the track. I've read it in Lewisohn, but I can't find it to verify for myself. If anyone can actually hear this, give me some precise pointer as to where it is supposed to be, please! If I can find it and extract it I will put an audio clip of this section up. Also, remind me I said that if you do find it!
[1] Rumour has it that the alarm clock was timed to go off after 24 bars to mark where the downbeat is. Common sense should tell you that this is nonsense. You cannot set an alarm clock to go off with anything like that accuracy. The more likely explanation is that the alarm was "let off" -- deliberately triggered by hand at that moment. Lewisohn states this was a mechanism to mark the end of the passage. * NEW * However odd this seems, it may well be true. I've had justifications of why the count of bars (on its own) is insufficient to cue the orchestra.
JustToJess@aol.com writes: I've spent my entire life since I was three in musical theatre, and I can assure you that many people do need to "wake up" after 24 bars of music. Not that they have poor concentration, or that they would have missed the cue, but after rehearsing this song over and over and over again, and after countless takes, it is VERY reasonable to assume that the alarm clock (most likely hit from the piano - people do have slips of the tongue, you know) got them back into the music, and started that "umph" that they needed to maintain the same quality of . . . atmosphere? carisma? I don't know the right word, but just that little bit of enthusiasm and excitement by the performers that gives the song that special somthing. I know that many a director I have worked with has done something like this during long, tedious rehersals.
* NEW * Yes, it fits in with the "Woke up..." line. I don't know if that was intentional or not, but it is widely written that fitting with the lyrics was only coincidental, and the alarm clock's purpose was primarily and originally as a marker. Nothing more.
* NEW * I'm still getting reports on this alarm clock entry, perpetuating the idea that the alarm was set and timed to go off after 24 bars. Please feel free to try it with any wind up alarm clock of your choice, if you can do it, I'd like to hear about it.
* NEW * There is a very subtle distinction between "setting an alarm clock to go off" and "setting an alarm clock off". The former implies an interval passing between doing something with the clock, and having it sound 24 bars later. The latter implies direct interference with the clock to make it sound now. The latter is the only reasonable explanation.

A Hard Day's Night
1:33 Towards end of solo, everything slows slightly

A Taste Of Honey
1:43 * NEW * Where John and George respond to Paul's "I'll come back", George only seems to manage "'ll come back". Maybe he wasn't sure on whether it was "I'll", "He'll" or "You'll"

All I've Got To Do
Whole Song: Squeaky pedal on bass drum throughout song, esp intro.
1:18-1:21 * NEW * Stereo only, Paul hums the melody low in the background (right channel)
1:21 * NEW * Definite edit/drop out in the track here.

All My Loving
1:19 * NEW * Really bad mistake for Paul, he plays a somewhat "sharp" note in the bass line on the word "miss".
1:51-1:54 * NEW * Paul's "All My Loving" may be edited (mono and stereo), preceded by a vocal noise (latter audible in right channel of stereo).
2:03 * NEW * Paper? rattle.

All You Need Is Love
0:08-0:12 * NEW * Listening to the centre (gentle) snare sound, it is clearly ahead of the beat for a little while
0:10 Nasal intake of breath. Between the lines of the song he can be heard chewing gum!. Listen before the line "nothing you can make that can't be made"
0:23 Plink of a guitar/plectrum (Left)
0:25 (Right channel) someone speaks". It sounds like "then check it", or "Check it Steve"
1:19,1:23 Two edits in the guitar tracks, right ear
2:08 Plinking notes, guitar or banjo sound. Don't seem to fit with song?
3:15-3:18 Paul makes a few errors in the bass part. His speed varies all over the place through this.

And I Love Her
0:40 Double tracking error on "lover brings"
1:08-1:15 Loses double tracking
1:15 * NEW * Quiet click, maybe this is where double tracking restarts.
1:47 Talking during end of guitar solo (Hard to hear on CD)
2:12 Someone "Dum Dum Dum's" the guitar line. Michael Bain suggest Paul was the culprit. I thought it was George ... :)
2:24 Creak, someone leaning back in a wooden chair? (Not on CD)

And Your Bird Can Sing
Whole song * NEW * John's tambourine playing is very on-off beat,as if he couldn't decide what he wanted to do with it ...
0:02 John/Paul takes deep breath under the cover of the intro. (Right ear)
1:56 Faint guitar notes in with bass line, during and after fade out

Anna (Go To Him)
Whole Song: Bass pedal squeaks through this song.
0:22-0:25 * NEW * Rhythm guitar stops here for a moment
2:52 * NEW * A click (probably drumsticks) then a pop (maybe guitar)

Another Girl
0:20,0:36 * NEW * Stray guitar notes.
1:03 Subtle drop in cymbal ring and volume of acoustic guitar, plus a click

Any Time At All
0:14 Click and lag in the guitar rhythm, an edit here?
0:38 Edit between "at" and "all". Strum becomes heavier, and bass gets louder here.
1:32 Talking in solo
1:49 Edit in cymbals track
1:59 John flubs, missing the first "Any" on the double tracking
End: Bad edit at fade out

Baby It's You
0:10, but rest of song too * NEW * Bass pedal squeaks yet again! Listen just after the "Sha la la la la!"

Baby's In Black
1:30 Bad edit, best heard in right channel, in the words "Baby's in black". The strummed guitar appears out of nowhere here, further 'enhancing' the edit. * NEW * Also maracas and bass jump up. * NEW * On the mono CD, this is corrected, but there is a stumble in the drumming at that point.
1:44 Double tracking error : John (1) says "And though he'll never come back..." John (2) says "But though she'll never come back..."
1:51 * NEW * A third voice trails a faint harmony in above the other two, just for "dear, what can I do, baby's in ... feeling blue". Most audible on the word "black".
2:03 Right ear, at the very end, there is a rattling of paper.

Baby You're A Rich Man
0:03 Faint Noises, talking? (Left)
0:26,0:28 * NEW * Strange noise from one note caught on the synth (Left)
0:48 Someone comes in early on vocals
0:53 Sounds like a bell? Possibly a glass being hit.
1:08-1:11 Offbeat clicks
2:20 Hissing noise, talking off mic

Bad Boy
1:59 * NEW * Last note of downward riff is very dead, only the doubletracking helps hide this.

Back In The USSR
0:48 * NEW * Macca misses the snare, and provides an unintentional rimshot.
1:05 * NEW * A cut, as "Ukraine" comes in. In the right channel, the word comes in a little early, and the cymbal too. This throws the beat off slightly. On the left, the airplane effect drops in level at this point.
Very End:Many people have reported a range of various things said at the end here, "How's That?", "How Bout It?", "Ha ha!". It's actually just "I'm Back!"

Being For The Benefit Of Mr Kite
0:54 * NEW * Accidental hit of the ride cymbal. Also hinted as Ringo losing the drumming pattern and trying to catch up.
1:24 * NEW * Tambourine/Hi-hat combination missed for one beat (listen to left channel, drops in "impact" for the first beat of the pair
1:44 Someone either punched out or faded out the beginning of the line "Having been some days ..." leaving "...ving been" * NEW * The full sentence can be heard in the version found on Anthology

Birthday
0:36 * NEW * Stereo glitch - fault in master.
0:42-0:47 Whispering between vocalists. Also hear Paul counting the bars from 1 to 8 up to 0:56
1:34,1:37 Reported as "female voices" mock Paul saying "Come on", and "Birthday". Actually, this is Paul, and the second word is "Baby"
2:08-2:10 Previous take's "dance" shows through, resulting in Paul ending up singing "Daaaannceee/aaaance"
2:36 Laughter after the drumming stops.

Blackbird
0:00 Right at the very start on the White Album, someone says "play" in a high pitched voice. * NEW * Graeme Jamieson points out that this should be on the end of I'm So Tired and is only here due to poor mastering when making the CD.

Blue Jay Way
0:34 * NEW * Short high pitched tone, left channel
1:24 * NEW * Left voice finishes "Street" before the right one does.
2:20 * NEW * Either a double tracking error, or Paul joins in singing just "you be"
2:22 * NEW * Wooden click in vocal track (right ear)
3:09-3:11 * NEW * Spoken voice under chorus

Boys
Throughout * NEW * Ringo's bass pedal is squeaking most of the way through the song

Can't Buy Me Love
1:16-1:25 Guitar solo - there is a second solo in the background! This is apparently leakage from one of George's atrocious live solos he played when it was recorded in Paris.
1:27 Shouts of "Hey!" in the background
2:02 * NEW * Stray "Can't" that never got double tracked -- this has been suggested as a "mmm" at the end of the phrase "buy me love". Stereo makes this clearer?

Carry That Weight
0:24-0:33 Drop outs in orchestra section. Sounds like a worn tape. * NEW * Also suggested as bad mic leads/jacks, but the sound flutters in a manner consistent with edge damage to the tape, or crinkling.
1:01 One high note on piano clipped (suggested that an elbow was the culprit!)
1:18
It sounds like half the voices are singing "Paul, you're gonna ..."

Chains
0:30 * NEW * Reported as "bad sibilance on the word Chains", this has possibly been fixed in some mixes. Sibilance is that nasty "SSsshh" that you get on some 's' sounds. Unfortunately, the whole song seems to have lost it's 's' sounds, maybe this is why. "Chain. My baby got me locked up in chain" (Mono CD mix)
0:51 * NEW * Faint click here, maybe a guitar tone switch flipping?
0:59-1:14 Rhythm guitar breaks up badly - more obvious on stereo than mono
1:27 Maybe John - "S'at enough?"/"S'at the rhythm?" * NEW * Possibly this is someone (suggested as "from the booth", although we shouldn't be hearing them!) commenting on 0:59-1:14, the rhythm guitar breakup.

Come Together
0:35 Left - fret squeak
1:26 Someone shouts "All right" in the background before the line "He bad production" (Right ear)
2:02 Someone shouts "All" before John's "right" (Right Ear)
2:27-2:28 * NEW * Clicking sound
2:30 Talking (Right ear). Especially audible "Look Out!" before the line "He rollercoaster"
2:51 Shout/print through of Lennon's vocal

Cry Baby Cry
0:00-0:10 * NEW * John's vocal starts low in the mix, and normalises over 10 seconds.
* NEW * The talking at the end of this track/beginning of Revolution Number 9 is explained and transcribed under "Revolution #9"

Day Tripper
0:05 * NEW * Click
1:40 * NEW * The note progression that starts at 1:21 in the left channel (guitar) seems to cut off very abruptly at 1:40
1:50, 1:55, 2:32 There are two extremely noticeable dropouts near the end of the song. This is not on any earlier mixes of the same take, so it is quite likely that it happened during the mastering stage. Other mixes show a sound at 1:50 that was likely the reason for the dropout, and John's misplaced "yeah" at 2:32, but one has to wonder if the cure wasn't worse than the illness. This is particularly true in the 2:32 case, since one can STILL hear the "yeah." The drop outs at 1:50,1:55 punch the 1st and 6th notes of the riff clean out.
2:06 1st voice: "She was a daaay tripper, Sun-day driver yeh" 2nd voice: "She was a daaay tripper, One-day driver yeh" John is still thinking "one-way ticket yeh" and half-sings it!

Dear Prudence
1:45 (Left) The bass guitar is tapped for two notes, and struck for the third during the silent break here.
2:05 (Left) The solo guitar, which faded out at 2:00 reappears here as if the fader was brought up too soon.
2:11 (Left) Bump noise
2:12 Leakage of picking of guitar at centre during quiet spot.

Devil In Her Heart
0:25 * NEW * Somebody in backing vocal enters at wrong note and quickly corrects
Where Punch-in, right channel, at George's first solo line (not audible
on mono).
2:04 False start in guitar figure.

Dig A Pony
0:02-0:09 "Yeah, Ok" Count in, "Ah 1 2 3 4" [1] Ringo/John: "Hold it!" <sniffs> P: <mocking> "Hooold it ..." George: "Ah One Two (Want To) Tell You"
[1] I know the song is in 3/4 time. This is not a mistake! The 'fourth' beat is the downbeat of the next bar, coinciding with the bass note, and the "it".
2:10 * NEW * Paul's voice cracks on high harmony, "Be-c .. ooh!"
3:45-3:53 * NEW * John says: "Thank You, Brothers. Me hands getting er.. too cold to play the chords."

Dizzy Miss Lizzy
1:23-1:26 Right side, drums drop out - they continue on left only.

Don't Bother Me
0:03 Someone (George H.?) comments about it being too fast.

Don't Let Me Down
0:01-0:04 Sound from amps (bass/guitar) causes snares to rattle. Happens at places throughout song ...
1:31 Faint Edit/fwip can be heard
1:43 Just after "it's a love that has no past", a faint "Believe it/me" is heard.
"Lennon9@earthlink" says on this : "Well here is one possibility....In all of the ends of the previous verses Paul plays the high E in various manners....one note slides...sixteen note flourishes etc... When 1:43 rolls around I think John looks over at Paul and says "Leave it.." just before Paul would have hit the high E.."
Seems like coincidence - there's a definite leading "S" to the words, and sounds more like " San ee eh".
* NEW * rubbersoul_12@hotmail.com also offers : "John calls, "Good evening" to someone entering the studio."
* NEW * Drew Hill adds : John says "it's in E flat" referring to the key
* NEW * Another alternative is "It's an infinite", referring to the love that lasts for ever, and has no past
1:56 Tambourine rattle, but * NEW * also reported as glass breaking.
2:12 * NEW * Serious sound of breath in microphone!
2:25-2:27 Paul "high-harmonies" "nobody ever really done me", but so faintly it is hardly heard.

Don't Pass Me By
0:07 Left channel, someone shouts something
1:48 Most strangely, an alarm bell goes off in the middle of "unfair" (Left)
2:39-2:48 Someone (likely Ringo) sings out the beats from one to eight, and then shouts "ooop". At the same time John says (Right channel) "Give it some more!" (Level ? More of the song ?)
2:50 (Left channel) Someone shouts something
2:54-3:23 * NEW * The structure of the last chorus is slightly different to the others. Max Mismetti notes that at least part of this is because of a mistake (anomaly!)
On Anthology 2, I found the answer! Apparently, Ringo recorded the basic track and forgot the order of events on the end, or he made a mistake on the basic track and wasn't feeling like recording it all over again. So he sang normally as if the mistake hadn't happened, but on Anthology we can hear the piano better. The song chords are C, F and G. The mistake can be seen 'cause the piano has its chord change delayed 1/4 of bar (between brackets is where it was supposed to be):
C(correct)
Don't pass me by, don't make me cry don't make me blue
(F) F
Cause you know darling I love only you
(C) C
You'll never know it hurts me so
How I hate to see you go...
G (corrected!)
Don't pass me by
That's why he sings differently "know it hurts me so" and makes a lot of noise with his drums. It's to disguise that F chord that is still on. You can hear on the White Album too, but on the Anthology 2 is better.
3:24-3:50 * NEW * Lots of fiddle harmonics. Also in other places in the song. "No one uses fiddle harmonics" apparently. I can hear why. Ugh.

Do You Want To Know A Secret
0:39 George sings a wrong note and quickly corrects it on the first "oo-oo-oo"
0:43 * NEW * Lead vocal quality seems to change here, as if a new take or drop in here.
1:09 * NEW * George sings "I've known a secret for the week or two" as opposed to the more sensible "the secret for a"
1:11 ,also 1:49-end Bass plays wrong notes here and there.
1:29 * NEW * "Do you promise not to tell, adh (doo-dah-doo)" Was George about to sing "A Doo Dah Doo" by mistake?
1:50 * NEW * Reported as a bass trombone note, there is one very bad buzzy note in the guitar here.

Drive My Car
0:16 Click (Right Ear) Not on mono
0:20 * NEW * Harsh piano edit as piano comes in.
0:44 * NEW * Guitar fret-squeak sound, right channel.
0:52 Strange 'peep' (right channel) as instrumental comes back in Not on mono
1:20-1:22 Paul? sings "You can drive my car" under the last notes of guitar solo. Listen carefully, the last 3 notes of the solo are on top of the words "Drive My Car"
Through the whole song you can faintly hear a solo guitar echoing the bass guitar. Steve Moss says "I think they might have done like in the Anthology 2 version of 'Goodbye, Hello,' wherein they had additional instruments that they yanked from the album version"
1:42-1:53 * NEW * Centre, right after "start right away" and each subsequent vocal line there are a number of stray guitar notes, as if the guitarist is idling, unaware they are being heard!
1:46 Paul fluffs the bass riff and plays a "safe" note instead

Eleanor Rigby
0:14 The double tracking is not brought down fast enough after the end of the second "Ahhh, look at all the lonely people" in the introduction. It continues until the second syllable of "Eleanor." The bad mixing of the double tracking continues throughout the rest of the song, every time there is a transition from single to double or vice versa, except at 0:46, for "Father McKenzie"
1:19 Right channel, "Lo" of lonely is sung on the wrong note
1:29 (Left channel) click

Everybody's Got Something To Hide Except Me And My Monkey
1:02 Various shouts (left channel)

Every Little Thing
0:00-0:03 Someone whistles along to guitar intro, not audible on mono CD. * NEW * Pounding sound, just once, during riff. Sounds like a bass drum clonk?
1:25 Clatter of a music stand falling, Paul is accused! * NEW * This may be an over enthusiastic double-strum of the acoustic guitar.
1:58 Up to last note there is a sour note.

Fixing A Hole
0:34 Paul's voice cracks a little during "will _go_"
0:42 Tail end of the guitar sound. Sounds like a long slide down the frets (a sort of "purrrr" sound).
1:06 Click (right)

Flying
0:14-0:30 * NEW * Faint maracas, before they actually join in
0:18-0:21,0:29-0:31 * NEW * George can be heard tapping along in time, between guitar passages.

For You Blue
0:00 Introduced with John saying "Queen says 'No' to pot smoking FBI members". Although not accidental, it is curious that this is here!

For No One
0:58.5 In the horn solo, a possible punch-in occurs. A glitch in the sustained tone before the final flourish gives it away. It has been suggested that this was a playing technique of the hornist, as it also happens in the Give My Regards To Broadstreet version.
* NEW * It is further observed by Ugo Coppola, that In The Complete Beatles Chronicle, Lewisohn says that the hornist, Alan Civil , recorded the whole solo eight times, wiping over the tape with every try. No punch-ins or edits.

From Me To You
Whole Song: Ringo's bass drum pedal squeaks. (left)
0:28 John sings "So call on me", Paul sings "Just call on me"
1:43 to end Bad edit, this may only be in the Capitol "Beatles 1962-1966" Album The harmonica goes out of time, and the vocals suddenly double track (Left ear).

Get Back
0:00-0:20 Introduced by John's "Sweet Loretta Fart she thought she was a cleaner","but she was a frying pan". There is also Paul singing "Rosetta...", John's "Great, picks for the fingers" and a quiet 1-2-1234 count in, a "Get In!" and a "Level John!" (Let It Be version only. Past Masters 2 omits this)
* NEW * According to two reports, "picks for the fingers" is in fact "Picture the fingers going". John is apparently motioning with his hands at this point on bootleg videos of the rooftop concert.
1:19 Lead guitar (left) breaks up, when both J & P sing "Get back ... belonged" This is at 1:00 on PaMa2.
2:55 Outroduced (!) with a policeman (from the "on the roof" session) saying "I'm afraid its just too long", telling them to wind up the gig. Again, only Let It Be Version, not PaMa2

Getting Better
0:00-0:02 Someone gives a count in for the vocals. Other talking.
0:13 The word "teachers" has a double-track sound to it, as if an overlapped edit was performed. I'm sure Paul can't sing two notes at once like this! * NEW * Listen for a lower vocal note than the one Paul sings, on the first syllable...
0:21 Distortion on "up"
0:28 (Right) Edit in the word "Bett/ter"
0:34 (Right) Someone shouts "Better" under Paul's vocals
0:43-0:44 (Right channel) whistle, click
0:56 Paul makes a verbal slip, "And you're doing the best that I can"
1:04 Sound (same as 1:26)
1:07 Piano and cymbal/hi hat do a "double skip", as if a faulty edit. Doesn't sound intentional.
1:10 "Shhh ..." or intake of breath?
1:21, 1:26, 1:33 Sound (right). Coming from the guitar, possibly a faulty amp/cable, or maybe very scratchy picking action!
1:57 Click

Girl
0:59 (Right channel) Someone (John?) coaches "tit tit tit."
1:30-1:50 Harmony guitar line (as found at end, 2:00-onwards, audible in right channel. Bleed-through? Maybe it was recorded both times, but mixed out later. Not as clear on CD. maybe fixed. However, at the line "girl who came to stay" (0:09), and "to cry ..." (0:37) and "why ..." (0:49) you can still hear this picking of the line on the right channel.
1:53 Sound of guitar being put down/picked up ?

Glass Onion
0:05-0:06 After "told you bout Strawberry Fields", someone sings "for evah"
0:51-0:52 Two clicks, one during "yeah", one after.
1:00 * NEW * "Oh" in high pitched voice during the gap.
1:19 Piano chord cuts off abruptly, highlighting the edited-together nature of the sections of this song!
1:39 * NEW * Edit in right channel, affecting drums.
1:46 After "dovetail joint, yeah" someone shouts "hey!"

Good Day Sunshine
0:04,0:07 Clicks, and cymbals come in suddenly, rather than a complete fade-in.
1:19 * NEW * Right channel, click, right after clap.
1:26 Someone (John? Ringo?) repeats "she feels good." This appears to trigger something closely approximating a chuckle from Paul in the next line.
Listening closely on the CD, it sounds like Ringo saying "She f**ing does". The last word is definitely not "good", very likely "does". Also heard by David Gulczynski.
John Sinclair refers to the version on "Give My Regards To Broad Street" and says "that it is 'she feels good' repeated."
* NEW * On Paul McCartney's Get Back video (1990 tour), a live version is performed, where he sings the second "she feels good" very clearly.
Maybe he laughed because he was meant to repeat the line, but actually twisted it?
1:33 Bad edit in piano track (right ear)
1:58 Cut to four vocal tracks is abrupt.

Good Morning Good Morning
Whole Song: Throughout the song, the right channel contains soft drum beats, ostensibly used to direct the brass instruments. There are also hand claps.
0:06 "Hah!" (left ear)
0:16 Edit in vocals, made audible by a cut off deep breath.
0:23 Sound, right
0:30-0:32 * NEW * Two shouts, left, under main vocals
0:53 Someone grunts after sax stops playing (right)
2:25 Someone (John?) yelling "Lookout Lookout!" when the horses run by. Maybe this is John shouting "Good, Good!"
2:33 Where the "Good Morning" vocals fade out,there is an audible click as the vocals/brass stop. Just before this a voice, very quiet, says "Turn it off" (Right ear)

Good Night
2:04-2:11 Ringo sings "Close your eyes and I'll close mine", but the backing sings "Now it's time to say Good Night"
* NEW * It has been suggested that this is intentional : This is Ugo from Italy ... in reference to your Good Night (White Album) note ... I don't think that's an anomaly at all. I think it's intentional. Here in Italy there are lots of singers who sing something over a choir or some backing vocalists who sing something else on the same melody, especially in ballads or melodic songs in general. Umberto Tozzi,Raf,Laura Pausini,Claudio Baglioni and Lucio Battisti all do this.

Got To Get You Into My Life
0:01 to 0:06 Talking (Paul?) during intro. (Left) * NEW * Not clear enough to be a regular count in.
(1:28-1:38, left) Left side, distorted guitar sound plays horn riff after "find THERE ..." and in "OOH, then I suddenly" the guitar sound plays chord voicings on beats 2 and 4
1:45 Strange guitar sound. (Centre) Possibly the same chord that starts
off the fill/solo before fadeout - right after the last "GTGYIML ..." at 1:49
1:49 New guitar sound appears from nowhere, possible edit?
2:07 * NEW * Leakage of tremolo guitar (right) that was edited out
2:10 * NEW * Possible edit to whole take, vocals and brass seem to have more presence
At various points, a guitar bleeds through that doesn't end up in the final mix.

Happiness Is A Warm Gun
0:43 Chewing/mouth noise
0:57 The mixers brought up a track too quickly. Originally, John sang the "I need a fix" line twice, but the first was supposed to be left out in the release. The end of the first "down," though, ended up on the master
1:34 High pitched titter from the "female" backing voices. Caught unawares by an early drop in? * NEW * This has been attributed to John saying "shoot" or "sh*t" ...
1:50 "When I Hold you" * NEW * The tempo changes into something like 6/8 here, but Ringo continues in 4/4. Not sure how this happened. Two possibilities -- they were doing something clever with arrangements by overlaying 2 rhythms. Or, at the time the drum were recorded they intended it to be 4/4 and changed their minds later. It's clever. (There's a Queen song "The Miracle" where the song ends and goes into a guitar/bass/drums solo fade out, and a piece fades in over this at a different tempo and knits at key points (the start and end) so that it transits to a slower tempo without you really noticing.)
In the light of the "Mother superior" bit, which has an odd beat pattern of 3 6 3 7 3 6 3 7 3 6 3 7 beats, it may be deliberate and clever.
2:21 Print-through of the word "Gun".

Hello Goodbye
1:15-1:16,1:30 * NEW * Handclaps, seem to mark out solo area
1:54-1:55 * NEW * Right - a clicky sound as John and George's voices are punched in, possibly from the echo unit.
2:05 * NEW * Right - Someone hits something, viz. "I can stay 'til it's time to go [BANG]". Also background hiss reduces as the vocals are taken out here. Throughout 1:54-2:05, headphone leakage of other instruments increases with the new vocal tracks being added.

Help!
0:20 Double tracking timing error on word "way"
0:25 * NEW * Shout, just before "find", easier to hear on right of stereo.
The mono version has the intro spliced on. The vocals differ between the mono and stereo mixes.
Danny Caccavo adds this : Here's more about the mono mix. Whenever you hear the guitar run, there's an edit which cuts out the band hangover (cymbals) and the thumping on John's acoustic guitar. "Won't you (edit) please, please help (edit) me". On the second edit, the band returns, and the guitar run stops suddenly.
These edits are not (unfortunately) on the stereo mix. They are quite effective on the mono.
Also at the end on the mono mix, there are three "Help Me"'s. Note that the second one is "Help" (Paul/George) and "Me" (John). On the stereo, John's voice is double tracked, so you lose the back and forth effect (highlighted in the film "Help" -- note how it is edited back and forth)
* NEW * Glenn Koury also notes: The anomaly is in the tempo of one phrase in the first verse. The line is "Now I find I'VE CHANGED MY MIND". In the single version of the song, the tempo of the vocal phrase I"VE CHANGED MY MIND is evenly spaced, with MIND coming right at the downbeat (actually, a 16th beat before). In the album version, the phrase is double-timed, with MIND arriving on the upbeat. Also, in the album version, the phrase is repeated at the END of the song, and there, it is the slower, evenly-paced tempo like the single version (and thus inconsistent with the same line at the beginning of the album).

Helter Skelter
0:31, 1:43 Squeaks
0:50 Bottle rattles for about two seconds.
1:35-1:45 John singing "Ri-i-ight" like on Rev 1/Rev 9 - faint in Left channel
2:29 Paul sings "Yes she is, coming down fast" and then (closer to the mike) "Can you hear me speaking? Whoooo"
2:36-2:46 Assorted "Yeah Yeah"'s and "Look out's"
2:49-3:09 Paul sings "Can you hear that silly bugger...Neeee..." then says "Come here son, I saw you do that you little bugger... Get yer bloody hands on your head, c'mon". Hard to hear, again OOPS helps to remove the loud guitar part that masks this.
The "blistery shout" seems to be prompted, again it could be printthrough as you hear "hahaha <I've got> I'VE GOT BLISTERS ...". The shout itself is from Ringo, who played until his hands were blistered in the 27 minute take that this is condensed from. As to the prompting voice? Who knows!

Here Comes The Sun
0:13-0:15 George H. hits the guitar body to mark the unplayed beats, a la Help
* NEW * Stephen Moss suggests : The time tapping noted here is more likely George's foot. Listen to how closely that guitar is miked. Were George to beat out the pauses on the guitar body, it'd be much louder.
0:19,0:35 * NEW * Soft, then louder bumps against the body of the guitar (left)
2:23 The vocal comes out as "It seels like years since it's been clear". Previous verses are "feels/here", "seems/here", and there seems to be some doubt as to what word came there!

Here There And Everywhere
0:10 Edit between intro piece and "here", the tape drops out. (Left)
0:13 Left channel, soft click, * NEW * possibly a finger snap where one was not supposed to be!
0:19 Right channel only, "changing / my life" have two different sounds to them. Edit between two takes?
0:57 * NEW * Serious fret squeak, right!
1:06 At the end of guitar section, under the word "her", is a fwip. (Right)
1:10,1:45
Between the words "everywhere" and "knowing that love..." is an audible 'fwip' of a punch in. (left)
1:35-1:41 * NEW * Left voice seems to fade out during "care" and return a few words later.
2:12 * NEW * Guitar goes to wrong beat -- it had been playing chopped chords on beats 2 and 4, but goes to 1 and 4 momentarily!

Her Majesty
0:03 (left channel) A female, vibrato voice sings a note, or possibly a sped up male voice. It is suggested that this could be a Moog synthesizer trailing off from the loud chord * NEW * maybe being switched off or pitch-bent (waggling it for fun, the take being over ...). Also suggested as possibly a cartoon "boing" sound effect.

Hey Bulldog
0:00-0:05, 0:08-0:11 Right channel, clicks of drum sticks. * NEW * Also snares on drum kit rattling in sympathy with the rest of the guitars etc.
1:04 Sharp edit in the guitar track, cutting in after "talk to me" and apparently ending at 1:32
1:33 Lennon sings "Big Man", and in the left ear Ringo shouts "Yeah?"
2:16-3:04 The book "The Beatles Lyrics" has the words wrong to the ending. Most interesting, they don't include all of the John/Paul dialogue:
J/P) "Hey Bulldog ..."
P) "Hey man"
J) "What's that, [boy/Paul]?"
P) "Ruff!"
J) "Whaddya say?"
P) "I say, ruff!"
J) "You know any more?"
P) "Wowowowwwaaaaa"
J) Screams loudly
P) "You got it, that's it, you hit it, that's it man, Woop!, that's it you got it"
J) Screams hysterically
P) "Don't look at me man, I already have [ten children/grandchildren]"
P) "[Clap man, clap / Quiet boy,quiet]"
J) "Okay"
P) "[Clap! / Quiet!]"
3:05 * NEW * Total drop out in right channel.

Hey Jude
0:06 Centre - someone picks up a tambourine.
0:21-0:22 Strange vocal noises during singing, almost like swallowing while singing (clever!) * NEW * This has been picked up as "more tambourine rattling". True, there is more tambourine rattling just after "start", which wasn't listed. But the vocal anomaly above is during "make it".
2:17 Right - high voice (female?) talking - sounds like "Love You" - on the words "Just You"
2:52-3:02. 2:58 mostly The Lewisohn reference to an "undeleted expletive" :-
Having listened to this some more, I think I've got it (finally) right
As Paul/John sing "Remember to let her under your skin", John shouts "Got the wrong CHORD", not just "Ohhh" - the last word sticks out more than the previous 3. If you count 1-2-3-4 through this section, you get 1 2 3 4 1 2 3 4 1
P/J: skin Then You Be Gi In
J: Got the Wrong Choooorrd F**king Hell
Michael Patrick observes that George lets out an unchoreographed "aah" at this point, this may be the word "chord". However, just after "begin" there is some form of edit, which causes a noticeable brightening of the left channel. Maybe there is a mistake in the instrumental here too, which was hidden by the edit?. Expletive also heard as "Need some help","Ok Now","Take it out" ...
3:12-3:58, Right * NEW * Lots of shouting from Paul, all gone off microphone for quite a while before it is mixed in to the centre at full volume. "Make it better",lines about "making it, not breaking it" poke through, but all quite hard to hear.
4:30 Non-anomaly - often being reported as "Don't f**k about Jude". This is really "Don't make it bad Jude"
5:37 Similarly, this is not "What the f**k Jude" or "Hey look at that you idiot!" but "The pain won't come back Jude"
* NEW * The full text of Paul's amazing shoutings from where it comes in clearly at 3:58 is approximately :-
"Jude Judy Judy Judy Judy Judy.. ow, wahow!"
"Ow hoo, my my my"
"Jude Jude Jude Jude Joooo ..."
"Na na na na na, yeh yeh yeh"
"Yeah you know you can make it, yeah Jude, you not gotta break it"
"Don't make it bad Jude"
"Take a sad song and make it better"
"Oh Jude, Jude, Hey Jude, woooow"
"Ooo, Joooode"
"Yeah"
"Hey, hey, hey-yay"
"Hey, hey, hey"
"Now Jude Jude Jude Jude Jude Jude, yeah yeah yeah yeah"
"Woh yeah yeah"
"Ah nanananananana cause I wanna "
"Nanananana ... nanalalal ow ow ow"
"Oh God"
"The pain won't come back Jude"
"Yeah, eh hehe heh"
"Make it through"
"Yeyeye Yeah .. yeah y-yeah ... yeah-hahahaha ...."
"Goodeveningladiesandgentlemen mymymymy mahhhh"
"oooo"
"Woooh"
"Well then a na-nanan"

Hold Me Tight
Throughout * NEW * Squeaky bass pedal on Ringo's kit, best heard at 0:59-1:12, 1:39-1:50, (use left channel of stereo if you have it)
0:03 and 1:12, 1:52 John sings " ... right, so", and yet Paul sings " ... right, now" (comes out as "right, sow")
* NEW * although at 1:52 there also seems to be an edit through this piece as well!
0:38 * NEW * Phrasing of "To--night" and "Tonight" varies between singers
1:27 * NEW * John and George's echo of "hold" is disasterous, sounds like George scooped into John's note.
2:00 * NEW * John comes in late with backing vocal, and there's some faint speech
2:21 * NEW * Sudden change in volume on right channel of stereo only.

Honey Don't
0:34 * NEW * Ringo's voice cracks in "Don't"

Honey Pie
0:01-0:09 Some voices, left channel only
1:33-1:40 * NEW * Tape noise increases during guitar solo, especially in the right ear.

I Am The Walrus
0:04 Orchestra brought up too early, rattling is heard before they begin to play (right channel)
1:35 * NEW * Edit as John comes in with "yellow matter custard". Listen to the Anthology version, John's voice cracked on the last "I'm crying" (hence, after editing, it sounds like "I'm cry"). The first attempt at "Yellow matter custard" also fails. The take was editted to cover this. Listen to the orchestra (right) and you can hear the edit clearly. There is also some drum editting.
3:54-4:33 Not really an anomaly, but seems to keep popping up, so I'll include it. Towards the end, there is talking, fading in and out of the mix. It's from Shakespeare's 'Tragedy of king lear' - the scene is like this ... times added as a guide.
Osw. Slave, (3:53) Thou hast slain me:- villian, take my purse. If ever thou wilt thrive, (4:02) bury my body, and give the (4:05) letters which thous findest about me to (4:08) Edmund Earl of Gloster. (4:10) Seek him out upon the British party. :- O, (4:14) Untimely Death!
Edg. (4:23) I know thee well, a (4:25) serviceable villain. As duteous to the (4:27) vices of thy mistress as badness would desire.
Glo. (4:29) What, is he dead?
Edg. (4:31) Sit you down father, rest you. (Ends) Let's see these pockets, the letters that he speaks of may be my friends.. He's dead. I am only sorry he had no other deaths man.
How did this get there? Well, it was being broadcast on the radio at the time of the recording, and got mixed in for effect. The just tuned to a station and - there it was! This was not a planned thing, according to evidence in Lewisohn's book. The play was being transmitted on the radio at the time the mixing was being done (compare studio records with an extract from the Radio Times progam listing magazine), and was added live into the mix. This is the reason the mix slips into mono if you listen to the stereo version. It would be impossible to exactly duplicate the mix as the Shakespear was not recorded anywhere but the finished master.
Very End * NEW * The whole track seems to speed up just as it fades away to nothing

I Call Your Name
0:11 * NEW * Poor edit after "I Call Your Name" and before "but your not there", making a soft "flump" sound. Made more obvious by sudden appearance of cowbell at this point, three beats late, and also of the double tracking of the vocal.
0:47-0:51 * NEW * George Harrison forgets his guitar figure for the middle 8 here
1:43 * NEW * Poor double track in "Oh I can't sleep at night bu/but just the same"

I Feel Fine
0:00 Capitol remix opens with drumstick clicks, and John saying "It's not enough"
0:06 Cough and a click. * NEW * Also reported as "an obscenity", and "someone spitting", "something mechanical, e.g. a WaWa pedal", "finger sliding down guitar neck to get to proper chord"
0:48 * NEW * Most voices sing "She's so glad", one sounds like they've sung "He's" or "I'm" instead!
0:12-0:14 Snares on the drum kit resonate to the sound of the guitar amps, before the drums come in
End: In the fade out, people report hearing a barking dog. It's not a dog, but Paul freaking out and making woop/woof noises. Very realistic, but no dog!

If I Fell
1:45 I wasn't sure if I should consider this to be in the list, but it's been brought to my attention several times, so here it is. Paul's voice cracks on the word "vain."
Mono version eliminates this by editing in another chorus, * NEW * although it is reported that the cracking is still there, I don't hear it on my Mono UK CD. There is a quiver in Paul's voice, but not as bad a problem as that found in the Stereo mix.

If I Needed Someone
Whole Song: (Sounds like George is inhaling on a cigarette throughout this song)
0:50 CD Version only - whole track phases very slightly
1:50 CD Version - phases again
Apparently in some versions, both of these points have someone singing falsetto harmonies as a guide to the next part coming up - maybe the phasing is a by product of removing this in the CD?
2:18,2:19 Creaking sounds left and right

I'll Be Back
2:00 There's a drop out on Paul's voice and the drums, leaving only John and guitar for a moment!

I'll Cry Instead
0:04 to 1:40 Constant click click click. This is reported as Ringo's ride cymbal but it leads by about 1/32 of a bar ahead of where the beat is "expected". * NEW * Also suggested as a metronome.
0:48 Double tracking error "I'm gonna lock myself" vs "I'm Gonna hide myself"
1:09 Edit, and rhythm guitar drops out in mid strum.

I'll Get You
1:13 John sings "Well, there's gonna be a time when I'm gonna make you mine." Paul sings "Well, there's gonna be a time when I'll gonna change your mind"
1:17 * NEW * Here, one vocal sings: "So *I* might as well resign yourself to me"

I'm Down
0:50-0:58 * NEW * Although not credited as having a double track guitar, the second lead is heard low in the mix (centred) doing a different solo.
1:28-1:31 Right - ticking of John's nails on keys as he flies through the notes!

I'm Happy Just To Dance With You
1:53 Squeak in fadeout!

I'm Looking Through You
0:04 Paul tries out the song "Where did you go, Where did you go" (Vinyl on, not on CD)
0:15 Feedback
1:01,1:04 Handclaps go all out of time and stop
1:05,1:43 Edit in the phrase "Love ha/as a nasty habit". Second time is much more subtle
1:18 On the down beat of "were above me <here> But not today" there is a loud guitar feedback/harmonic (Left of centre)
1:20 Sounds like dropping of a tambourine
1:34, 2:16-2:19 One of the organ stabs moves to the centre of stereo (from the right) for no real reason. Same again at 2:16-2:19, but more random in nature.
1:35 Talking
1:41-1:42 Two clicks (centre)
1:52-1:54 * NEW * George plays various out of tune notes, right channel. This happens in a few places (not the cleanest of guitar tracks!) but here is worst.
1:58 Ringo misses the snare! Actually, from 1:50 to 1:58 Ringo seems to be moving his position, as the snares change sound each time, one time he hits the rim only, before missing this beat.
Also note that on American Stereo LPs there are two false starts not counted above. The first is about 1 beat, and the second three or four beats.
2:19-end * NEW * George either gets bored with the riff, or becomes distracted, as he plays random notes into the fadeout (right).

I'm Only Sleeping
0:35 Click (right channel) just before lead vocals comes in.
1:08 Three clicks just after "...sleeping". Sounds like someone is snapping fingers to measure out bars. You can also hear the printthrough of a backwards guitar. Best using OOPS.
1:57 Voice says "Yawn Paul", and 2:01, he does!

I'm So Tired
0:37 * NEW * Sounds like a distant guitar sound (centred).
1:07 Under the word "so" in "I'm so tired" there is a strange vocal/instrument sound.
End of track * NEW * Lennon gibberish. This is not backwards. Renditions such as "M'sieur M'sieur, How about another?" seem to be reading in sounds that are just not there in an attempt to force it to make sense. It's nonsense speak. The nearest I can transcribe is "Bliss'm bliss'm, habuts-a-hoffen. Tidja tidja, pleh!". The final "pleh?" is often translocated onto the beginning of Blackbird due to mastering errors when making the CD

I Need You
0:41 * NEW * Stray noise from guitar, right
1:10 Click to left, and the track "loses something" in content, during the syllable "mem"
1:48 Clicky sound along with skip in acoustic guitar just before the pedal steel comes in.

In My Life
0:47 Finger snap (Right)
1:09 Stray guitar note (Right)
1:47 At very end of piano solo, one single guitar note can be heard - is this part of an original guitar solo?
2:12 * NEW * Lennon flubs the word "life" in the double tracking.

I Saw Standing There
1:23 * NEW * Bad edit between takes 9 and 12 (between drums and "Now I'll")
1:25 * NEW * Paul: Now, I'll never dance ...
John: I wouldn't dance ...
1:29 John - "When I saw her standing there"
Paul - "Till I saw her standing there"
* NEW * John distinctly laughs at his mistake, whilst still singing
1:32 * NEW * "Horrible" edit in the end of the chorus, during the word "there". The new take comes in over the old one (leading to "there-ere"). This cut is just before the solo, and probably leads to a cut back at 2:26
2:26 Paul - "Now I'll never dance with another"
John - "H-i wouldn't dance with another" (From "How could+I wouldn't", both of which were wrong!) * NEW * This point seems to be an edit back to the original take, so not entirely John's fault on the vocal error. Close examination of Ringo's fill reveals that he goes to smack the crash cymbal, yet all we hear is the impact point, and then a heavy bass drum sound as the other take returns.

I Should Have Known Better
0:01, 0:04 * NEW * Although a mono track, two distinct "stereo" effect wobbles in the track here.
0:06 Harmonica drops out for a bit. Sounds to me more like running out of breath than bad mixing. (Not on MONO CD version)
1:07 * NEW * Random finger snap
2:00 Double Tracking lost here, during word "see?" - sounds like "Can't you see (it)" because of a strange sound at this point.
2:16 Bad edit between "love me to-oo-o, oh../And when I"
2:20 Double Tracking regained, on the words "mine, ah-ha-hine"

It's Only Love
0:08 * NEW * John counts in "1,2". The "one" sounds like "hum".
0:41 LP - word "only" loses double tracking. Intentional, to hide an error, as on the CD this has been left in and the timing of "only" is out of place. Mono version also loses double track to correct this problem.
1:03-1:06 * NEW * John puts a bit too much emphasis on the word "bright" so it sounds like "bbrright" and he lets let's out a slight laugh up until he sings "very bright.". Also lead guitar fill hear is flubbed.

It Won't Be Long
1:09 Guitar and hi-hat all drop out for a moment here (bad edit?) * NEW * This seems very sudden compared to other places where this happens in the song.
1:59,2:01 * NEW * For Mono CDs, there are distinct stereo glitches here.

I've Got A Feeling
Throughout * NEW * Paul never seem to play his melodic bass line and sing at the same time. Especially at 2:01, Paul returns to doing the full bass line while John sings, yet stops at 2:45 when he has to rejoin him. CoreyTan@aol.com observed: "Such is live recording, but you would have figured Paul could chew gum and walk at the same time."
0:02-0:04 During John's guitar intro, George plays some stray notes, noticable to centre and right as faders open. Sounds like maybe George tuning up his first and second notes?
0:05-0:06 CD release makes fade in of Paul's vocal very obvious, with a copious amount of "hiss"
2:41 * NEW * Something disasterous happens with the guitar work here.
3:18 Some discussion over whether John says "Oh yeah" or "F*ck yeah" arose. Sounds like "Oh Yeah", but with a laugh in the middle of the phrase.
3:33 Apart from the "Oh my soul, 'ts so hard", there is a faint background comment about "looking over the edge"

I've Just Seen A Face
0:35 Fwip as double tracking and maracas come in
1:03 In harmony track, audible "Yes ... pop a lop top" over guitar solo
1:25-1:35 Harmony vocal quietly adds just "Face, or place, met, met .. oooo" to main vocal.
1:35 Fwip as double tracking and maracas come in (again)

I Wanna Be Your Man
1:16 * NEW * Solo taken from live take, and has rest of group in background. Also some talking evident on end of solo (right channel, in stereo). Drumming sound changes (esp ride cymbal)
1:30 * NEW * Random "ooh" after "no other can"
1:36 * NEW * Ringo's bass pedal squeaks here
1:55 * NEW * Paul barks twice (actually, sounds like "Woop!")

I Want To Hold Your Hand
0:33 and 0:44 * NEW * John/Paul lyric differences:
Oh please, say to me
You'll/And let me be your man
And please say to me
You'll let me hold your hand
Now/You'll let me hold your hand
I wanna hold your hand
1:22 After word "something", a voice whispers "something" (right channel) John, as ever, forgets the vocals, and adlibs "balum-a-lumba Haaand"
Toward the end of the version on the Red Album, Paul's voice cracks viz. "I Wanna Hold Your Haaa-ah!"
1:48 Edit at the beginning of the second "I Can't Hide", with a fwip
1:52 During the word "Hide" an additional voice faintly appears in the centre with a slightly off key "Oooo."
2:22 During final fade out, the instruments to the left fade very suddenly before the fade out has completed.

I Want You (She's So Heavy)
1:55 * NEW * Loud plink from centre guitar.
2:19 * NEW * I wrote: >Next to last note of arpeggio is wrong. I'll modify that, and say that it is strange. It unexpectedly makes an augmented 5th chord.
2:21 George flicks his pick up selector to change the tone of the guitar.
3:08 Pickup click again!
3:37 Fluffed bass note
3:40,3:42 (Center) click/edit/crackle in guitar channel? and then John's pickup.
4:28 Distortion in John's "Yeeah", prompting someone (in the control room ?) to yell at him. Sounds like Paul to me, and Michael Bain/Laurent Cerveau agreed on this.
4:32 (Left channel) "Turn it down man/Mal" This is likely due to the distortion at 4:28
4:34 Faint "Yeaah" (Couldn't be print-through, too far away from 4:28)

I Want To Tell You
0:06 Talking, heard using OOPS - sounds like "Thrill me"
0:12 George tries out the opening vocal line "I want to tell you". OOPS again.

I Will
0:00 Starts with a click. Maybe Ringo tapped out the count in, and it couldn't be trimmed without cutting into the "Who" at the start of the song.
Not audible on CD version.

Julia
0:14 John is a bit late coming in on the "Julia" line. Is this him, or was it a mixing error?

Kansas City
0:59 * NEW * Small drop out in the track, Lewisohn describes this as a "one take wonder", so not an edit. This has been suggested as a flaw in the tape.

Lady Madonna
0:00-0:06 Rhythmic noises in right channel during piano notes, carries on for a bit. Also can hear Paul's breath on mic at 0:08.5 as a rumble.
1:40 * NEW * Reported as a click, this is part of Paul's vocal (is never ending). The final sound turns into "endingk".

Let It Be
0:00,0:09 Drumstick clicks (LIB Album version only, not on Past Masters)
1:07 (Past Masters/Blue Album Only, not Let It Be album) After the words "For though they may be parted," there is a whisper, possibly "Stop, John/It". Rumour has it that it's "Excuse me", as a result of John having just parted. Yes, I did spell that right. :) Thanks to Biffy, the Elephant Shrew for explaining all .... Paul does seem to giggle a little here!
* NEW * Stephen Moss adds : This sound doesn't sound like John, unless it's a low whisper that shouldn't be picking up on Paul's mic. More likely it's from the booth; it might be the word "sibilance"
1:21 (Past Masters version only, not LIB Album) * NEW * Reported as a thump against microphone, I think it's again a plosive (breath nooise into microphone)
1:46 (Past Masters version, not LIB Album) * NEW * Right channel, John or George play 3 wrong notes as they head into the solo, then stop altogether.
1:55,1:56,1:57 Three little distortions in organ solo (last few notes)
1:59-2:26 (Past Masters version, LIB Album version) * NEW * Centre, bleed of the "other" guitar solo evident in many places.
2:21 One note in guitar solo, very quiet, is wrong. Sounds like an open string being caught or released?
2:58 Piano chord under the word "Mother" is wrongly played, and quickly corrected.

Little Child
0:54 * NEW * Stereo only, right channel. Harmonica solo contains bleedthrough of the band, as this was edited in from a live take.
1:12 * NEW * Cuts out again at end of solo. Mono also has obvious bad edit at this point.

Long Long Long
0:08 Fwip during "It's been a", making it sound like "It feel a ..."
2:31-2:56 A bottle rattles on one of the speakers. Sounds like a coin being spun on a table. * NEW * This sound was of accidental origin, but left in at the request of George Harrison who thought it cool.

Long Tall Sally
1:58 Guitar makes strange sound... (right)

Lovely Rita
0:21,0:23 John sings as an aside "Aah, Paul" under the main lyric
0:32-0:34 In the right ear, after "your heart awaaay" <fwip> "Standing..."
1:10 Odd sound, just before call of "Rita!" (Right channel)
1:16-1:17 Probably Paul, screaming "Woo-hoo-hoo"
1:22-1:25 Hiss in background, right channel from piano track which has finished, but not faded down
2:11 Edit in tape (causing click) to join on the ending (Left)
2:38 Ringo shouts "You'd better believe it" or "They'll never believe it" in the very final moments of the song. * NEW * Also suggested that this voice is John.
* NEW * Not counted as anomalies, but keep getting mentioned :- The pop after "Over dinner" -- this is very much intentional, and represents the cork popping over dinner. The "chukka chukka" sounds Lennon makes as "vocal percussion"

Lucy In The Sky With Diamonds
0:13 Left, click
0:45 Cough ? * NEW * Has also been suggested that this is Ringo's hi-hat banging together more loudly and sibiliantly than expected, possibly as a result of treading on the pedal too hard to close the cymbal, but there is a distinctly cough-like quality :)
0:50 Guitar breaks through on right channel just before the "Lucy .."
1:32 John sings "grows so incredibly high", and a much delayed "igh" is heard. Was this from a previous take?
1:53-1:56 Lead guitar drops out (Right)
2:34 Paul sings harmony on the "Lu" syllable in "Lucy"; he was supposed to sing in tandem with John, and corrects himself by the second syllable.
3:08 Printthrough of "Aaah" audible on right channel

Magical Mystery Tour
0:09-0:15,0:47 Clicking noise (Switches) in right channel, just before bus goes by. Also reported that the bus can be heard skidding and crashing at 0:52 (Paul is dead hoax again?)
1:40 * NEW * Right channel, a click/scratch. This is the bus being removed from the mix before the "crash" happens (unlike the first time!)
2:27 Talking * NEW * but not audible on CD mix.
2:40 * NEW * One bass note cracks a bit, rhythm breaks down totally (bass, drums, piano all diverge)

Martha My Dear
1:01 Strange overlap of the words "Take a good", maybe overlap of two takes or an on the fly editing job. Sounds like an "Elvis" style echo!
2:23 Click at start of final bass note. Possible edit here?

Matchbox
0:01 * NEW * Heavy nasal intake.
0:09 Strange halt after the first "Matchbox holding my .." in Ringo's voice. * NEW * Maybe this is because he's trying to remember if he's supposed to "wondering", "watching", or starting a new take because of cocked up lyrics.
0:14,0:42,1:31,1:34,1:38 * NEW * Bad double tracking of vocals, esp. "Puppy-dog-py-dog runs" and what sounds like "We-We-Well ..." at 1:34
1:01-1:18 * NEW * Some feature of the guitar solo coming in and out at these points causes the drums to fall further over to the left channel.

Maxwell's Silver Hammer
0:37,0:45 Each time, lyrics say "Bang Bang", next time "Clang Clang" - lyric books show this as "Bang Bang" all the way through! * NEW * Check Anthology version out for a clearer "view" of what's being sung.
1:21 During the line "Writing fifty times I must not be so" Paul laughs. I think someone in the background is distracting him. Rumour has it that John mooned him in response to the line "stays behind" :)
1:41 Double tracking lost on "head" so that Paul can join the backing vocals (doo-doo-doo)
2:11 Click to the left
2:44 * NEW * Faint guitar note, best heard in right channel, although it is in the centre, under the word "lips"

Mean Mister Mustard
0:30-End * NEW * Up to here the tambourine playing was solid. But, from 0:24 onwards, as Kent Rodway put it, " for the last half of the song, it fades out, quits, hits out of beat, overall, a very poor effort. Or perhaps they cut it and meant it that way..." In fact, on listening to it, what is actually happening is that the tambourine fades down every time Paul adds his backing vocal lines, beginning with two "Mean old man" lines, and then for every line of vocals onward where Paul joins in on harmony. This seems like a compressor problem, everytime the vocal comes in (louder than the tambourine) it drives down the level of the tambourine.

Michelle
0:45 Bass fret-squeak in the word "say" Not on mono
0:56, 2:01 Wrong note in guitar part under word "ma", makes a major chord, instead of minor (Right channel)
I've revised my opinion of these, after hearing from Max Mismetti. This is called a dissonant chord, the chord has a major AND minor third. The "third" being the note which normally distinguishes between a major chord and a minor chord. In this case, the strings just rang out louder and made it sound wrong, but it is in fact correct.
1:39 * NEW * Click on lead guitar channel after solo ends (left)
2:01-2:08 Song slows from 118 bpm to 109 bpm, and stays like that. The sound of the snare changes here, so this could be an edited on ending - at least on the drum channel. Vincent Dubrall suggested that this was a "retard" - the song is intended to slow down. However, the change in sound implies that some kind of joining of takes took place.
2:27 Left ear - cough - not audible on CD,as vocals are dipped off. * NEW * Also stray guitar notes.

Misery
Throughout * NEW * Bass pedal squeaking
0:41-0:46 * NEW * Double tracking seems to be lost on some words in the phrase "I'll remember -- lonely one"
0:48,0:54,0:56,1:16,1:23,1:28,1:38 * NEW * Scratchy sound (left channel, stereo only) after each piano section

Money (That's What I Want)
0:00-0:02 * NEW * In addition to the drum sticks, there is a soft sweeping sound, sounds a little like hihats, but a little too far off mic to be intentional
0:06 Lead "Crunchy" guitar editted in mid strum (mono only)
0:15 * NEW * Soft thump as the guitar portion ends. On the mono CD this thump is quite clearly stereophonic!
0:18 * NEW * Double tracking goes strange on "free"
1:31 * NEW * Long scream, way off microphone.
1:37 * NEW * ADT on vocals comes back in, sounding much different. Possibly re-done for the CD mix?
2:14,2:27 * NEW * Stereo only, as mono makes it hard to hear, George Martin plays wrong piano chords here (right channel)
2:38 * NEW * John hits a high note and his voice croaks badly

Mother Nature's Son 
1:00,1:42 * NEW * Paul fails to slide to the third note of his upward run, the brass manage much better!
2:15 Paul laughing

Mr Moonlight
Whole Song Another squeaky bass pedal on the drum kit (most way through)
1:36-1:38 Someone sings a quiet "reference" note for the chorus coming back in
2:27 Stray organ riff under second "light" - only in stereo

No Reply
0:13 Between "your window" and "I saw the light" there is a cough and some speech (Right channel)
0:33-0:34 Loss of tape reverb on the words "telephone" to "were not home" (Corrected on CD)

Norwegian Wood
0:38 Early American Mono releases of Rubber Soul - Cough just before "So I looked around ... "

Not A Second Time
0:44-0:45 * NEW * Shouts in background (mono, also stereo, right channel)
1:05 * NEW * Possible edit immediately after Ringo's fill
1:49 * NEW * Ringo's bass pedal -- guess what -- squeaks.
1:53 * NEW * Edit just as John starts "time"
2:00 John blows the double tracking by forgetting what he sang the first time round. The two parts don't connect properly

Nowhere Man
0:19 (CD Version) The reverb and effects on the CD mixes are often re-created. Here the reverb drops off completely through the words "point of view, knows not where he's ..."
1:04-1:07 "He's as blind as he can be" after guitar solo is very phased on LP. CD version obscures this
1:49-1:51 * NEW * Paul loses the bassline a little, under Ringo's fill (this is what he'd play at the very end, where they repeat the "nowhere plans for nobody"!!), and then plays what sounds like an open string, very buzzy.
1:51 Aaah--la-la-la - one incorrect note (a low one) in harmony, makes a very strange chord ...
2:35 After last "Nobody" there is a clipped "yea"
US Versions of Rubber Soul seem to have a guitar note in the opening vocal harmony.

Obladi Oblada
0:02 Paul says "remember to step it up, John," then coughs, then hums a few notes to hit it right. Best heard when this track is OOPS'd. Laughter and joking by the other Beatles too.
0:10 Clap to mark the start of vocal track.
1:08, 1:17 Three clicks at each of the two points
1:18 John says "home", in reference to the following line.
1:42 After the line "lets the children lend a hand", the first time George says "arm", John says "leg"
2:04 In the words "Life goes on, bra / La la how the" there is a vocal punch in, marked by an audible tweet just after. This is a by-product of the two separate erasing operations, causing an audible sound.
2:13 John says and spells out "home" at 2:13. * NEW * Some other talking follows.
2:33 After the line "lets the children lend a hand", the second time John says "foot".

Octopus's Garden
1:54 * NEW * Right channel, horrible pop sound. At high volumes, this hurts.

Oh Darling
0:34-0:35 * NEW * Click (centre) Maybe drumsticks?, and a sharp loud breath.
0:53 Bass note on down beat goes very dead, almost like a really slack string! Following note is stepped to correctly.
1:30 Possible drop-in in bass line, or slightly late playing of one note here.
1:08 ,3:19-3:25 Daniel Caccavo says :- "John (or George, I haven't checked the bible) uses guitar amp tremelo in the bridge arpeggiated sections, which is activated by a footswitch. Going into the first (I think it's the first) bridge [1:08], he accidentally pushes the switch one note early, which gives the big chord a tremelo effect (which I'm sure was untintentional). It sort of sounds like a tape dropout, but isn't. He also kicks in the tremelo for the last two chords of the song [3:19] (and the plucking of the ends of the strings at the close)."

The One After 909
* 0:33 * NEW * Occasionally reported as a shout, it's John: "Yes I did!"

Paperback Writer
0:10 * NEW * Breath sound, rustling
0:57 (Right channel) sounds like a cough and tambourine rattle
1:20 Somebody manages to forget to come in with the harmony until literally one second too late on the "Frere Jacques." (Right channel) Likely John.
1:45 Right channel again, someone clears his throat, and then a couple of quiet tries at the correct notes before singing "Paperback Writer."

Penny Lane
1:19-1:21 Crescendoing microphone feedback, similiar to at the end of the song but most likely an error
1:27,1:30,2:32 * NEW * Bizarre sound on the 4th beat of each of these measures. Sounds like either a very low tuned timpani/floor tom, or like the studio was collapsing around the recording! Whatever the sound is, it is irregular and not consistent within the choruses.
2:04 Two bar passage of double bass, under the lines "banker sitting waiting for a trim". Was this a mixing decision (only to put double bass there, i.e. it could have been throughout the song), or was it recorded like that?.
Mike Dickson observes :- "I understand that this is a deliberate musical effect, this particular song being littered with them. The sound of the double bass playing the slow deep lines is being used to signify the banker, presumably as an emblem of slowness or arthritis or something."
Similarly with the fireman <-> tubular bell ....
Max Mismetti adds :- I don't think they had channels enough to record a double bass isolated [to mix in later] It was supposed to be like that.

Piggies
1:53 Print-through of "One more time" (i.e. it is quietly said moments before it is said for real)

Please Mister Postman
0:07 * NEW * Again, mono track, but there is a distinct stereo wobble in the sound
2:12 * NEW * John struggles with the "Deliver the letter, the sooner the bet/You gotta" through trying to deliver all the vocals at once.

Please Please Me
Throughout * NEW * Every time there is harmonica, on the stereo version, there's "leaking" to the other side of the stereo image.
1:08 John sings "rain in my heart". Backing singers "try out" note for harmony, giving "Mmm....in my heart". Mono and stereo versions
1:27 John sings "Why do I-you never even try, girl?" Paul sings "I know you never even try, girl." (Correctly) John, apparently realizing his mistake, chuckles out his next "come on.". Stereo Version only. Caused by John singing the second line of the second verse (not the third verse!)
1:37 Red Album * NEW * Momentary drop in levels on Ringo's crash
1:45 Mono version Dip out in level, as end is edited on.
1:45 Stereo version Same edit as above, but badly done. Timing goes out with introduction of harmonica edit piece. Edit piece is slower than the left (rhythm) channel and catches up in time for the last three chords.

Polythene Pam
0:07-0:08 Click and apparent drop in or somesuch of the word "Pam", just before John sings it for real.
0:41 (Left channel) Someone yells "Yeah!"
0:45,0:46-0:47 (Right channel) Someone picks up the maraca. Also Paul: "Yeah" John: "Great"
0:55-1:04 (Left channel) Counting measures from 4 to 7. This sounds like the same voice as at 0:41.
See also She Came In Through The Bathroom Window, 0:00

Rain
0:33 Click to right channel
1:43 * NEW * Guitar loses plot as soon as the drum fill ends

Revolution 1 (White Album)
0:02 Most certainly not "Take 18" punched into the tape (cf. Lewisohn). Sounds much more like "aah, Take Two" or "<r>ight Take Two".
0:08 "Go On!" prompts an unidentified voice to get the "washboard" sound underway!
0:46 George Martin counts in the brass section with a very sharp "Wun Two Thri Fuh" (sic) - just like on SF bootlegs of the orchestra parts only!
2:12 * NEW * Left, as John begins with "You say you'll change", there's a loud click/pop
2:57 * NEW * Lead guitar flubbed to bits at the end!
3:21 * NEW * Although the rhythm track has been faded down, George's guitar can still be heard to the left, buzzing away.
3:24-3:25 * NEW * Stumble (triple) beat in the whole track here caused by editing, rather than performance! The track seems to play that section once, and then repeat 2 more times. It adds a whole extra "beat" to that bar, making the effective time sig 5/4, not 4/4
3:43 Brass section etc cut off by guitar riff introduction as song ends. This must have been added over the brass section due to shortage of tracks

Revolution (Single)/Past Masters Version
0:00-0:06 * NEW * In the centre, (better audible by listening left-only), you can hear a click track.
0:02 John changes guitar tone (not as in tone switch, I mean sounds different) - due to drum channel being faded in . Cross talk between the guitar and drum channel cause it to phase slightly. * NEW * Also attributed to headphone leakage as John's vocal faded in?
0:12 * NEW * An edit in the word "well"?
0:23 Mistake in vocals - sounds like "evol tution" due to second vocal. This is a double tracking error, the original line was faded out and fades in as "in-sti-tution, well you know"
0:59 Someone says "RAahght", left channel
1:22 Double skip on snare sound. Edit? Playing error?
1:44 Second voice is late for "Alright"
2:15 Stray notes from the guitar (centre)
2:21 "Head" out of place by second voice
2:57 "Alright" out of place by second singer
3:15 Voice in background says something like "Thank you/That's it"

Revolution 9
Lewisohn, and other lyrics books show the lyrics as "Brother can you take me back ...". It sounds more like "Robert, can you take me ..."
Also the mixer used to mix this track has a "scratchy" pan control. You can hear this 53 to 58 seconds after the first piano note and at 1:27 to 1:46 after. (That is 1:03-1:10,1:24,1:37-1:58,2:13-2:18,3:02,3:24-3:26 on the CD)
3:33-3:49 * NEW * Right, and then centre, the rising tone and rapid gibbling is the tape used to supply artificial double tracking running out, and being rewound. This is not a sound effect tape, or tape loop, but was left in the mix.
Just to settle the "What's the chatter about a 'cheap bitch' and a bottle of wine on Rev # 9" question, here's the transcription.
AT = Alistair Taylor, GM = George Martin
AT ... bottle of claret for you if I'd realised. I'd forgotten all about it George, I'm sorry.
GM Well, do next time.
AT Will you forgive me?
GM Mmm.. Yes ... [ with a smile in his voice ]
AT Cheeky bitch!
* NEW * Because so many questions come to me about this, here's a rendition of most of the audible speech in Revolution Number 9. This is my best guess, some of it is subjective due to being overlaid by other sounds.
1:00 JL: "Mrs Welsh wearing a pair of sun brown underpants"
1:10 JL: "about the shortage of grain in Hertfordshire. Everyone one of them knew that as time went by they'd get a little bit older and a little bit slower .... This was on the air force set thing"
1:20 JL: "manufacturing person who was always umpteen types of 'umpty dumpty ???? finders, yep ah diddly ... Peak District was leaving intending to pay for ..."
1:59-2:06 GH: "Who's to know? Who's to know?"
JL: "colours for the season. Everybody who knew ..."
2:16 JL: "Pakistan ... also spoken for"
GH: "every day through the business terms"
JL: "had informed him on the third, and I, that unfortunately he was"
3:07 GH: "Every few days ..." JL: "in a pair of brown under" [edited away, clothes, pants?]
3:26 GH: "local doctors that are ??? this may seem"
JL: "I have nobody's ..."
3:46 GH: "on Eaton, with the situation"
JL: "They are standing still"
GH: "upon a telegram from the"
4:04
GH: "to us played it false as the headmaster reported to" JL: "who could tell what he was, his voice was low and his eye was high and his eyes were glowing"
GH: " ... Sunday, He really ... became a great deal ... "
4:22 JL: "on fire, his glasses were in t'safe, this was"
GH: "into, which enabled him to move his"
5:03 JL: "certain, so the wife told him he'd better go to see a surgeon .... or what with the price .... yellow underclothes".
JL: "So, any road, he went to see the dentist instead, who gave him a pair of teeth, which wasn't any good at all. So instead of that he joined the bloody navy and went to sea."
5:37 JL: "in my broken chair, my wings are broken and so is my hair. I am not in the mood for wearing"
6:01 JL: "Dogs were dogging, cats were catting. Birds were birding, Fish were fishing. Thence Pwllheli, went swimming"
[Pwllheli, pron. "per-thelly", in Northern Wales. An odd little poem!]
6:18 GH: "only to find the night watchman"
JL: "onion soup"
GH: "unaware of his presence in the building"
[Note: JL interjects "onion soup" at the point where GH says "unaware". I think (speculation) that this was some JL wordplay on what GH was about to say. In fact, I think you can hear GH begin to smile, esp. through the "presence" and "building"]
6:34 JL: "Industrial output, financial imbalance"
GH: "Thrusting it between his shoulder blades"
JL: "The Watusi, The Twist"
GH: "Eldorado"
6:54 JL: "Take this brother, may it serve you well"
7:04 YO: "Maybe, it's not that, it's .... maybe, even then, expose yourself ..."
7:26 YO: "It's almost like being naked"
7:54 YO: "if ... you become naked"

Rock And Roll Music
0:17 Possible edit in the word "with"
1:46-1:51 Piano drops out abruptly at 1:46, and returns with edit noise at
1:51. Clearer on stereo than mono, but still evident
2:19 John sings "oughta got rock and roll music" instead of "gotta be..."

Roll Over Beethoven
0:00-0:10 Messed up guitar intro. Listen to Berry's original, and then this one
2:08 * NEW * On Mono CD, the "sss" sound makes an odd stereophonic sound, as if a problem in transfer of the master to CD
1:28 * NEW * George's "ooooo" seems to be cut in the middle. Either an edit, or he stopped and someone else picked up the sound.
2:41 * NEW * Final chord is very obviously edited on.

Run For Your Life
0:06-0:08 In build up to John's vocal, there is a phasing effect. It's John's vocal mike picking up his headphones as he approaches the mike to sing.
1:06 (Vinyl only) Muffled thud of a microphone being hit at the end of the fourth bar of the 6 bar guitar solo. Cleaned up for CD release!
1:02,1:09 During guitar solo, noises like a speaker having a problem? Slight distortion of guitar sound.

Savoy Truffle
1:11, * NEW * 1:20-1:22 After "You'll have to have them all pulled out" and before "You might not" there are assorted purring and cooing noises in the right channel
1:27 * NEW * Accidental tambourine hit.

Sexy Sadie
0:40 Very high pitched tone (guess at around 12KHz) * NEW * in the first "you laid it down for all to". Low in level, and hard to catch without good headphones. Sticks through in pauses between words.
1:13 * NEW * "Wa wa wa" cut off harshly (right)
1:15 * NEW * Finger snaps/clicks
1:18,2:42 Pitch of piano (whole track?) noticeably flattens.
1:33,1:42,1:46 Click/Noisy scratch in vocal track
1:49-1:51 * NEW * Finger snaps/clicks
2:05 * NEW * Some kind of noise moves from right channel to just left of centre. This is in the "backing vocals" track, which are being ADT'd, hence the sound moves from the live vocal position (right) to the output of the ADT machine (panned a little left, lower volume)
2:30,2:53 You can hear John mumbling "Sexy Sadie"

Sgt Pepper's Lonely Hearts Club Band
0:09-0:10 "Roll over boys / Roll over Maurice", heavily reverbed, just before music starts. (Sounds like Paul)
0:26 Drum beat under the word "play" is cut short, possible edit?
0:53 * NEW * Lead guitar begins a little early. 1:35 The word "us" is spoken in a low voice somewhat separate from the harmonies
1:36 * NEW * Shake and a bump. Sounds like a maraca, and either blowing into the mic, or hitting the mic*
1:46 Left channel, the clapping fades down and straight back up. I think this may have been because there was not enough stock recording of clapping to fill the space required
1:56 Right channel - The guitar ends very abruptly, as if editted off.

Sgt Pepper's Lonely Hearts Club Band (Reprise)
0:02-0:03 In the introduction, John says "Look up, Byeee". An increase in hum is heard just before this as the faders open. On mono versions, just before the band start, there is more talking, including what sounds like John saying "People City" just after the cluck.
0:02-0:04 Many thanks to 'Dirk from Germany' for this gem, reproduced verbatim:- "I read your page with great interest but I think on "Sgt. Pepper's Lonely Hearts Club Band" at 0:09/0:10 a man shouts the German words "Zieh die Hose aus!" which means something like "Take off your trouser!".
I've no idea if this is a wind-up, or serious, but it was so funny I just had to include it. If it was serious, I'm sorry, but I'm still smiling :)
0:10-0:15 Someone says "Sorry, What?, This one?" on the bass drum beats. Followed by a half awake "Haah?" from Lennon. Paul sings something high pitched, sounds like "Pussy cat".
1:15-1:17 After Paul's "Wooo", John says "Paul, could you hold my guitar for me". Heard using OOPS. Also Paul heard really going mad singing. On mono versions this is heard better, "We'll be back" or "We're the band, the greatest band of all time", and a faint "Sergeant Peppers BAND!", finishing on the final chord

She Came In Through The Bathroom Window
0:00 John says "We'll listen to that now, he he" "Oh look out!", probably in reference to the previous track. See also Polythene Pam * NEW * , this has also misreported as "You can come out now!"

She Loves You
0:12 A quick warping drop in cymbal sound.
0:37,1:16 As the guitar plays one of the transitions, the hi-hat loses its high-end. Sounds like it could be a repeat edit, like at 0:12
1:03 Another phasing of hi-hat sound as "glaaaad" ends, just before "wooooooo"
1:23-1:30, 1:32 Bad edit right after the line "I think it's only fair"...even the cymbals sound different. The drop in ends after the line "Because she loves you".
* NEW * Reported as not audible in Capitol Remix, but is reported audible on Red Album
Every chorus * NEW * Distinctly sounds like "She loves you, She'd love to, She loves you"
Danny Caccavo says :- I examined this on a workstation, and I think that somebody (after the initial release) mangled or stretched the tape, and copied a piece from a 45 (record) and edited it in. The insert piece has audible clicks in it when analysed at slow speed. Since the Capitol version doesn't have this, this might be an explanation.
Dave Prokopy says :- The great number of edits is understandable ... they were still working on 2-track recording, primarily an instrumental on one and usually live vocals on the other. The only way to overdub was to make a copy while adding a new element. This meant an extra layer of hiss ... to minimise this, George Martin would make a copy with the overdubs added, and then edit JUST the overdubbed sections into the mono mix of the basic recording. Therefore only the overdubbed sections would have the extra hiss, not the whole song.
It sounds like Martin had the boys overdub an extra set of "Yeah Yeah Yeahs" ... those three words sound a lot fuller ... the downside is that this created a ton of extra edits.
Subsequent versions are cleaned up, with more obvious edits digitally tightened.

She Said She Said
1:37 "What I've Said" <I want the ...> "I said no no ..." (Right)
* NEW * An interesting structural anomaly comes from R.A.Dare@qmw.ac.uk, who says :- It has to do with the timing of the changes in drum patterns, if I can label the patterns as follows:
Pattern 1: 0'00" - 0'50"
Pattern 2: 0'50" - 0'57"
Pattern 3: 0'57" - 1'10"
Pattern 1: 1'10" - 1'33"
Pattern 2: 1'33" - 1'38"
Pattern 3: 1'38" - 1'53"
The second time pattern 3 comes in is at about 1'38", but it should not be until about 1'40": vocal: .... i said no no no you're wrong, When I was a boy... ^ ^ 2nd(1'38") 1st(0'57")
Ringo seems eager and starts one bar early during "no no no"... he doesn't lose the tempo here, so it sounds ok, but I think it's an error, just not obvious.

She's A Woman
0:46,1:03,1:24,1:31 * NEW * Right channel flakes out, taking shaker and piano out.
1:25 Rhythm guitar drops out for one beat
1:32-1:33 Guitarist playing the "up" beat strokes misses a chord change.
I IV I My love don't give me presents
I IV I I know that she's no peasant
I* IV Only ever has to give me ....
Where I* should be the IV chord. The rest of the group change, but he doesn't!
* NEW * Apparently bootlegs of early takes show the guitarist having real difficulty with the chords on an ongoing basis, leading to several mistakes. * 2:43 Click during word "fooling" (Left)

She's Leaving Home
0:13-0:14 Deep breath from Paul
0:11-0:17,1:23,1:28,1:29:2:45 * NEW * (Left) Clicking from the bodies of the instruments in the strings section (creaking of wood, bows on necks etc.)

Slow Down
Whole track * NEW * Ride cymbal sound phases oddly in the right channel, maybe from headphone leakage in the vocal track, and Lennon moving back and forth on the microphone.
0:07,0:10,0:25 * NEW * Click sounds, the first two are a vocal "lip smacking"/gum chewing noise.
0:45,1:02,2:27,2:29,2:45 * NEW * Piano is out of sync (comes in early, usually) with the backing. This is an overdub by George Martin at a later stage.
1:14-1:17 * NEW * Piano (right) stops abruptly and recommences for no apparent reason, allegedley this is connected with the boy/gurr edit below.
1:15 One voice sings "Now you've got a boyfriend down the street". Another sings "gurr" as in "girlfriend" (!) and seems to stumble over the "down the street" part.

Something
0:11 One drum beat hits the rim or stick instead of the drum head
2:42-2:47 Listen, very low in the mix, George starts to play a little 4 note riff which causes him to miss his start point, and so the real line fades in a little late!

Strawberry Fields Forever
0:59 Perhaps the most famous Beatles edit ever. In fact, it is actually two edits. The famous one is between take 7 and take 26. Take 7 was slower and a whole note lower in key. The two were edited together right between the words "'cause I'm" and "going to". The less known edit occurs right before the words "Let me take you down". It's also less noticeable.
The edit can be heard clearly by listening to the drums and mellotron on the left. The drums go very dead, and the mellotron stops. At the same time on the right, the orchestra appears from nowhere.
1:17, 2:03 Counting from one to four (centre, whispered)
1:22 * NEW * Swordmandel (Swarmandela) fill is flubbed at the end. This mistake should/could have been mixed out! There is a "ting" remaining at the end, out of place.
2:43-2:44 * NEW * Nasty click from one of the cellos (right channel)
3:00-3:09 * NEW * 3:00 - Sounds like the guitar gets unplugged (right, after first flourish)
3:06 - Soft click, like a switch
3:08 - Slight drop in level
3:09 - Soft pop, the guitar returns with next flourish
3:27-4:05 Left channel, lots of talking, sounds like directions of sorts. From bootlegs, this seems to be "that's terrific","here comes the 'weeoo' (referring to the droning guitar note).
3:57, 4:03 John mutters the famous "Cranberry Sauce" twice, followed by "My mother made it for me." Paul is dead fanatics insist that what John really says is "I Buried Paul," but that somehow doesn't go with "My mother made it for me." Note that "My mother..." cannot be heard on any released version.
Can someone enlighten me as to where "My Mother made it for me" can be heard?? (Bootlegs?)
The song fades out in all cases before the end of the second Cranberry Sauce." The German release of Magical Mystery Tour fades out later than other releases (and so, therefore, does the CD), but still too soon to hear the "My mother..." statement.
Listen to the bootleg versions, they carry both "cranberrys" plus lots of shouting from John to Ringo, "What are you playing it","Alright Calm down ringo" (Anthology 2, Back Track)
Frank Daniels is sure that he hears "I'm very hoarse" instead of the claimed "Cranberry Sauce" (German Version). He also mentions the morse code, supposedly "J.L.". This is most certainly not "JL", and is in fact rather poor morse code, if it is meant to be that. (Like the cover to Help, which doesn't say "Help" in semaphore!)
Marty Blaise says: "I'm an amateur radio operator and at one time I could copy the code at 20 words per minute. The closest thing that I can guess is that the first letter is a K ... my guess is it's a bunch of beeps with no meaning, just someone having fun."
* NEW * I've listened to this sound more recently, and compared to the sound of the higher notes on the Mellotron "Flute" setting. It's a high note being tapped on the mellotron keyboard, and really doesn't equate to anything sensible in Morse. It's music, so let it be :) For those who want to find the "Morse" it is at 0:15-0:20 in the released version (left). In bootlegs of other takes, it repeats at other places in the song, always after "cause I'm going to..."

Taxman
0:03 Left channel, " for you 19 for me 1-2-3-fooow". Right channel - various backward guitar notes (tape being wiped across tape head?), a little forward scale up the guitar, Centre "channel" - wunn twooo threee fourrr <cough> wunn twooo
Seems to be some confusion over the above anomaly, so I've split it into three channels. The left channel is the only one I consider to be "an anomaly" due to the background speech.
Dennis: "Well, if you listen carefully, you'll realise that the first sounds (that you consider to be "There's one for you ...") are really some guitar notes played backwards. Not only it makes more sense, but also on the Hal Leonard Revolver ... transcription they write down the exact notes ..."
If you listen to the left channel, not the right, you might actually pick out the correct sounds here :) Those guitar notes are on the right channel. Oopsey.
0:34-0:35,0:40-0:43 * NEW * Right channel drops out, taking with it the tambourine.
0:47 Right channel, "Whoosh" before cowbell hit. "Must have been swinging that cowbell stick with a lot of enthusiasm" <Mike Borman>
1:29 Early entrance of guitar (one or two notes of solo from 1:33) - seems to fade in from 1:32 to 1:33, so maybe it started a bar earlier on tape!
1:38,1:45 "Ah ah Mr Wilson/Heath" dropped into lead guitar track (!) with audible clicks. * NEW * Check out the version on Anthology to hear the original drop in, "Any body gotta bitta money". It also seems to take out the tambourine, cowbell and lead guitar that were on this track.
2:24 The last "no-one but/me" sounds as if the vocal was edited from another take, or punched in. * NEW * This is suggested as a double tracking error, just at the end.

Tell Me What You See
0:00-0:03 Paul tries out the initial line "If you let, If you let" before the song starts proper. Also hissing can be heard - apparently not a Leslie speaker (rotating speaker to give a chorus/tremolo effect), but the electronic tremelo circuit modulating the hiss of the (probably) Wurlitzer electric piano. (Thanks to D Caccavo!)
See also You Like Me Too Much
1:07-1:13,1:48-1:55,2:30-2:35 * NEW * Hissing from piano, as above. Right channel

Tell Me Why
0:31 * NEW * Sounds like "Did you have to leave me oh so bad" - this is a vocal crossup between "treat me oh so bad" and "leave me oh so sad".
1:42 Edit, or dropout, between "so in love with you/Tell me why". The level seems to drop sharply, and come in a little late ... both in vocals and the guitar.

Thank You Girl
0:39 Paul: "Only a fool could doubt our love" John: "Only a fool would doubt our love"
0:39 * NEW * Paul: "That's the kinda love that seems too good" John: "That's the kinda love that is too good"
1:03 * NEW * Sound glitches (edit to new take?) just before "and all I gotta"
1:38 * NEW * Song speeds up, echo sound on vocal changes. Maybe another take to finish with?

The Ballad Of John And Yoko
0:16 Thump from electric guitar during the words "Christ, you"
2:50 * NEW * John yells "Hey, Peter!", to Peter Brown, who gets a namecheck at around 0:40. Peter Brown was employed by Brian Epstein and took over the "management" duties of the Beatles and Apple Corp. after Brian's death. During the instrumental tracking of "The Ballad of John and Yoko", Peter came into the studio and was greeted by John.
2:56 * NEW * Paul (playing drums here) sets the sticks down on the snares, audibly!

The Continuing Story Of Bungalow Bill
0:14 After the line "what did you kill..." Ringo says "I'll tell you" (left channel only)
0:44, 1:22, 2:01 * NEW * The apparent punch-ins at the end of each guitar/banjo bridge, turn out to be the mandolin sound of a mellotron. These sounds were basically produced from long tape being drawn across a tape head, and therefore, releasing the key makes the sound cut off sharply. Thanks to Daniel Caccavo for making me check this, I've also corrected the times for this to reflect the time on the CD.
3:13 * NEW * Corrected time reference Print-through of the "Eh-up". Possibly prompting from another Beatle? George?
Also, the lyrics on the CD liner are "So Captain Marvel zapped in right between the eyes". It sounds more like "For Captain Marvel zapped him right between the eyes".

The End
0:29,0:31 Someone counts "6," "7" counting the measures of the drum solo.
1:44 * NEW * No bass guitar after the "and in the end" part. Intended?

The Fool On The Hill
0:13 * NEW * When Paul sings "keeping" you can also hear the word "sitting" at the same time way off to the left. This is probably the guide vocal leaking through on some element of the backing.
0:22 Something being hit.
0:40-0:44 * NEW * Mechanical squeaking noises from the mellotron (flute sound). Also audible through rest of song.
2:20,2:21,2:47 Clicks, right channel

The Long And Winding Road
0:19 Microphone thump after "disappear" - through a short echo/delay
0:28 Wrong notes in bass line, sounds very hesitant
1:32 Click near word "times" (microphone hit again?)
1:53 Click in vocal track
1:59 Paul talks about John's playing ... (Can't hear this on CD?)
2:10 Bass note too quiet.
2:39 Mis-struck bass note
2:52 * NEW * Another bass note out of time
2:59 Dropped out bass note (either not played or mixed out!)
3:07 Further wrong bass notes
3:14 More dropped out bass notes
3:15 Sort-of-anomaly: Paul is heard to faintly sing "keep me waiting" a second time. Whether this is just Paul "getting into" the song, or whether it was mixed out, I don't know. Apparently this repeat line is included in concerts and Give My Regards To Broadstreet, so he obviously like it.

The Night Before
0:05-0:06 * NEW * Two out of place guitar notes, although I like them :)
2:05 * NEW * Paul sings "Were you telling ...", but we hear a distinct "We". He wanted to sing "We said our goodbyes"

There's A Place
0:04 * NEW * Edit in track, a small amount of time seems to be missing from the harmonica track
0:28 * NEW * Loud stray guitar note exactly on the beat

The Word
0:02 Sharp intake of breath (right channel)
0:30 The phrase "misunderstood" is poorly double tracked.
0:42 The guitar stabs to the left break pattern here, and one stab is missing under the word "and"
1:16-1:18 Right channel, John pronounces the word "word" as "weerd" (very Northern!) and makes Paul's voice waver with laughter
1:36 Light drum clatter (right channel)
1:47 One harmony sings "It's the", the other "'nd the"
2:09 Some talking, right channel (CD only)
2:15 The harmonies for this are "flown in" from a separate tape. Listen carefully and you will hear "Say the ..." and then the "wwwwooordd" slews up to speed.

Things We Said Today
Whole track * NEW * Every line of vocals starts with an emphasised word :- You say ... Till the end ... These days ... Seems so ... Some day ... This seems to be a studio artefact rather than Paul's singing style. Possibly a compressor on the vocals, which was set for a long delay before it kicked in.
0:06 * NEW * The word "me" in "You say you will love me" is sung "flat as a pancake"

Think For Yourself
0:00-0:03 Some distortion. (Left) Tambourine is picked up * NEW * (also reported as a breath) (Right)
1:55 Although the chorus is repeated, the bass momentarily goes back to the main pattern, alternates a bit, and recovers!

This Boy
0:20 Of the total parts, only one (John?) says "though" before the "He'll regret it someday..."
1:28 Bad edit right after the line "'Till he's seen you cryyy" in the chorus.

Ticket To Ride
0:38-0:41 Drop in Rickenbacker (Jangley) guitar. Fades back in.
1:08 Tambourine goes into double time half a bar early - compare with 1:58, which is correct.
2:47 * NEW * First bass note in double time ending is quite sharp.

Tomorrow Never Knows
0:52 ADT drops out early, leaving "It is being, It is" in the right ear. At the same moment the organ sound stops.
* NEW * Ugo Coppola points out :- I know Lewisohn and others emphasize this track as the first-ever Beatles track using ADT, but are you really sure it is ADT? When I listen to "that you may see the meaning of within",especially "meaning of whi", what I hear is the good old natural double tracking, so fine in early Beatles songs,a bit less in this... :)
I think he has a point. The double tracking is a little too free to be ADT. Any further comments?
1:28 Feedback from Leslie speaker. (Right, during "Love is all and love is")
Mike Dickson says :- "This is also deliberate (as I understand it) since it marks the exact central position of the song, its running length being 2:56"

Twist And Shout
1:19 * NEW * In George's solo, he carries one too many strings on the downstroke of the third pass through the riff. I've always liked the chord that this accident makes :)
1:25 Careful study of John's first "aaah" will show that half way through the pitch flattens slightly. * NEW * I do know that Lewisohn states clearly that this recording is one complete take, and that the following take was useless because John's voice was shredded. Having said that, I'll try and make this next sentence clearer, because it's causing some readers stress ... This seems like an edit between two takes, although only one basic take was recorded (the second being abortive due to John's voice being gone!).
I say "seems like" because it is uncharacteristic for John or Paul to sing out of tune like that, and it is odd (fortuitous?) that he corrects it on a beat. This makes it feel like, I say, feel like, the joining of two takes, or of an edit piece. But as this cannot be the case, then John just snapped his pitch down realising his mistake.
Thanks to Stephen Moss for pointing out the error that no-one noticed, all of this was originally attributed to Paul's voice. The order of the "aah's" is clearly John first, Paul and George together next (but one of these is very faint). We discussed this, and came up with the following. Discuss ...
1 bar John (Note A)
1 bar Paul (Note C#) and George faintly, fade in (Note F#) (Making chord A6th)
1 bar George (Note E)
1 bar Paul (goes to Note G) (Making chord A7th)
Then Paul and John jump up notes, I believe John takes Paul's note (Note C#), Paul goes wild.
Let's see how that grabs people ... either way it's still an anomaly :)
2:27 "Aaay" during last chord (Paul?)
2:29 Cough during fadeout - most likely John, after that vocal!
* NEW * This has also been suggested as a percussion sound (stick on rim), or hihat.

Two Of Us
3:05-3:07 (Vocal) Counting of beats to mark time, soft "thump thump 3 4" audible
3:30-3:33 * NEW * Whistling to pass the time. Certainly not whistling the melody!

Wait
0:48 One chord much quieter than surrounding chords (left)

We Can Work It Out
0:50 Edit in the organ part (right channel) - level pops up slightly with a click

What Goes On
0:05 Right, backing chorus is late, leaving just "goes on..." * NEW * I know this happens every start of chorus, but the suddenness of the vocal coming in makes it feel like an edited in piece, or a late fade in, as opposed to being actually sung like that. Also, it doesn't happen at the one at 1:30 and 2:13, listen carefully to the right channel alone to hear whether there is a "What" or not.
0:09 Talking (Left channel) - Paul says "Yip!"
0:48 Chorus is late (" ... goes on") on right
0:58 Low harmony for "tearing" is flat, and corrects upwards
1:11 (Left channel) someone says something
1:35 (Right) A little whoop!
1:35-1:54 especially loud at 1:46-1:53 Ringo hums the melody during the middle eight. This left Joe Brennan wondering how many songs Ringo hummed during, though without a mic.
* NEW * Max Mismetti suggests that all of Ringo's humming was caught while recording the basic track -- as a guide vocal.
1:28 (Left channel) John says "TELL me why." It's possible that John says "I already TOLD you why;" if so, "I already" is too faint to hear, but the inflection is too unclear for me to state it conclusively. * NEW * It is suggested that this is a reference to the earlier 1964 song, Tell Me Why.
2:36-2:40 Ringo sings "in your mind" twice at the end of the song.

What You're Doing
0:00-0:04 * NEW * Stereo only, on the right channel, you can hear the reverberation of the word "Four!" from the count in, along with Ringo's first beats. Also, at 0:04 John starts following the beat on the body of his acoustic.
1:01 Paul sings "Please ... stop your lying". Backing sings "You!"
1:05 Paul sings "You ... got me crying". Backing clearly sings "Oo!"

When I Get Home
0:36 * NEW * Paul's voice croaks badly, and goes off tune in second "Wo-ah!"

When I'm Sixty Four
0:02 * NEW * Faint click, right channel
0:38-0:42 Bass Pedal can be heard to squeak
1:05, 2:00 Paul sings "um um" along with the other instruments, emphasizing the beat.
2:28 Edit in vocals track, "When I'm sixty four/ye Hoo!"
2:37 Faint whistle at the end of the track.

While My Guitar Gently Weeps
0:50-0:51 * NEW * Just before "I don't know why", centre, sound like a digital watch beeping the hour!
1:57 Listen to right channel as the guitar solo begins. Ringo ends the drum roll, and then returns to the hi hat rhythm. Just for a moment, he blows it, and it all recovers by 2:00
3:14 * NEW * Paul missed the middle note of his triple in the bass line (right channel)
4:19 * NEW * Right channel, Ringo misses the kick (both beats!)

Why Don't We Do It In The Road
0:01 Squeak during drum intro.
0:17, 0:27 Someone (Ringo? John?) says "yeah"

With A Little Help From My Friends
0:00-0:02 Centre, loud tweets during the word "Billy"
0:08 * NEW * Noticeable increase in mains hum as the fader opens for Paul's bass (Right channel)
0:39/40, 0:42 * NEW * Distant, echoey voice sound behind main vocals. May be an artefact of the drums or guitar, but has been suggested as a talkback speaker.
2:04 Right channel, crackles in bass line (bad lead/connector?)
2:29 Ringo admits that he wasn't confident about that high note at the end. Here you can hear an edit to join on a successful attempt at the last phrase, beginning with the words "Ye/es I get by with-a-little-help-from my friends with-a-little ..." * NEW * Note that the level of the vocal comes up in the middle of this word (Yes)
2:39 Over end chord, someone says something extremely faint.

Within You Without You
3:05 * NEW * Sitar (Centre) drops out here (edit/punch in?)
3:41-3:47 George is singing along as (he?) plays the drum part, with an audible "Da da da da, two .. We were"

Words Of Love
0:59-1:04 Possible edit or drop-in in guitar track (Left channel). More audible on Stereo version
Whole Song Ringo's bass drum squeaks through this one, too. (Left channel)

Yellow Submarine
1:04 "And the band begins to play" ... They certainly do, but one of the trumpeters decides to put in a little trill ahead of cue!
1:06-1:10 The acoustic guitar loses it, and hits a series of wrong chords, masked by the brass coming in.
1:51 The backing vocals come in a line and a half late in verse 3. * NEW * See Real Love single for the complete "answering" vocal.
Bruce Benham says: The answer line "a life of ease" is only found on the Mono Revolver mix. The single uses this mix also.
The Yellow Submarine mono LP mix is the same as the Revolver Stereo mix (essentially) in that the line is missing.
2:00 * NEW * Ringo's voice cracks here, leading people to hear either a totally off key note, or "slubmarine".

Yer Blues
0:51 * NEW * ,1:05-1:08, 1:22, 1:26, 1:49 Feedback
1:31-1:40, 2:00-2:07 Someone shouts out lyrics behind John's singing, not the same lyric as the finished verses. Most obvious here, but is there throughout. Sounds like maybe Paul? [1]
2:25-2:27 (Left channel) yells
2:29-3:16 (Left channel) faint guitar (original, right channel is overdubbed?)
3:16 The supposed "instrumental" verse at the end has some bleedover from the vocals of another track. This segment was spliced in from another take, according to Lewisohn. The edit can be heard in a clipped guitar note.
* NEW * [1] Daniel Caccavo explains The "someone shouting lyrics" behind john in "yer blues" is John. It's the leftover leakage from his live vocal (which he replaced).
Tom Hartman (who was outside the room as the boys left the session) recounts that John said, "as long as you got the vocal" to the engineer, which cracked everybody up. If you listen to that shouting, and think of that as the vocal that John referred to, it's pretty funny....
Just to be clearer, I can hear a second vocal, clearly John, throughout the song. Occasionally, what sounds like a 3rd voice, singing a harmony to the "Girl you know the reason why" parts sticks through. At the referenced time, someone is shouting (not singing) words which do not fit the main lyric at all, not even the alternate (original) lyrics.

Yes It Is
0:08,0:35,1:22,2:09 George (?) makes the harmony sound false.
* NEW * Another one I'm going to retract on thinking about it. This is an intentional chord, and sounds out of place simply because it is unusual
0:12 Small drop out in the word "I" (as in "what I said")
2:37 * NEW * Click, left ear
2:39 * NEW * Click, right ear

Yesterday
0:19 During the word "believe" there is a squeak, sounds like from a violin string. (Left channel)
0:50 The words "something wrong ... for yesterday" are double tracked. This could be to do with Paul having replaced a section of the vocal -- George Martin said that the vocal was piped as a guide track for the orchestra. So the original and new vocals combine here to double track accidentally?
1:45 Right channel, just before word "Now I need" there is a clunk
2:01 * NEW * Thud, right channel
2:04 Mono only Strange sound as Paul releases neck of guitar

You Can't Do That
1:23 John's guitar changes tone on the pause before "Oh ..." in preparation for the solo, or possibly a bad edit.

You Know My Name (Look Up The Number)
4:10 * NEW * At the start of John's incoherent mumbling, someone belches. This was attributed to Ringo (why?), but Paul and John were the only ones present (Lewisohn).
4:15-4:17 * NEW * Sound like something (a coin, something round) is spinning to a stop just behind the mumbling

You Like Me Too Much
0:00-0:08 Scratching sound of the Leslie speaker (?) revolving. See also Tell Me What You See but this sound is more than just a hissing being modulated. Definitely something mechanical there :)
0:08 Click of the Leslie speaker (?) turning off

You Never Give Me Your Money
0:14 Piano notes
0:29 Short breath is taken (sounds like off microphone)
3:08 Someone picks up a tambourine
3:29 * NEW * Bad edit. Lead guitar, centre, silent very suddenly appears at this point and goes out of time.
3:46-3:56 Talking, during the guitar playing. Specifically 3:52, what does John sing after the very last "1-2-3-4-5-6-7 ...". It's not "All good children go to heaven". Could be "Bloody 'ell" [3:52, right]

You Really Got A Hold On Me
0:14 * NEW * Edit to a different take as vocals come in ... hi hat sound changes here.
0:25-0:26 * NEW * Switches back to original take
1:38 * NEW * Edit as guitar playing minor part comes in

Your Mother Should Know
1:44 Mono/Stereo changing. Possibly intentional on the stereo mix?

You're Going To Lose That Girl
Whole song * NEW * Piano seems out of tune in relation to other instruments. Either the piano is sharp, or the guitar is flat. Also Ringo's squeaky bass pedal pops through in places.
0:05-0:07 * NEW * Third piano chord played "wrongly" - F#m chord with an A# (as if a major chord). Seems to stick out, and not in a pleasant way. Is this dissonant or wrong? :)
0:40 * NEW * Overdubbed "t" at 0:40 compensating for John's pronunciation of "right" as "when I treat her ride".
1:46 Edit in the backing of the song

You Won't See Me
Throughout * NEW * Tempo of the song slows down. At 30 second intervals, from the start, the tempo is 119,118,116,115,114,and 113 bpm.
0:02 Cough
0:12 Odd sound to right
1:05-1:07 Paul sings "But I'd get turned away" or "But I get turned away", but not (as often documented) "But I could turn away". The 'd' is very soft.
1:34,2:28 Upper "oo" in harmony comes in before lower one.
2:16 * NEW * Click, in centre.
2:29-3:08 * NEW * One continuous mid-range note holds all through here. Very odd. Flakes out a little at 2:52
2:32 George (?) says something (Right channel) Sounds like "Y'row"
3:15 Shouting - "C'mon?" (Paul, right, during fadeout)
3:16 * NEW * Double Click (possible handclap) (Right channel) (just before fadeout ends)

Appendix missing here....

Contributors
Thanks to those who have contributed to this list. If your name is here and you want me to link to your homepage, send me the URL you want.
* Matthew Rupert * "Bill W" at Pittsburgh * Michael Bain * Laurent Cerveau * Gene Schroeder * Robert Berry * Joseph S. Dalfonso * David Gulczynski * Jay Smith * Greg O'Rear * Doug Campbell * "LittleAbby" Dees * Frank Daniels * Steve Barclay * Preston Landers * Michael Patrick * Michael Lane * Andrew Walker * Joe Pisano * Lee Kirk Hawley * Kai Lukoschek * Jim Vegeais * Larry Micohn * Jay Kuhn * Benjamin Lukoff * Timothy Jehl * Edward Michalak * Benjamin Chapman * Tim McCormick * Justin Kelley * Daniel Caccavo * Josh Dalcher * "ScullyDana" * Jeff Coleman * David Sheatsley * Ken Davis * David Coyle * Greg Thompson * "MesrsKandH" * Melanie Thomasson * Heather Johnson * Glen Heffner * "Empress82" * Ken Goldwasser * Pierre Bouchard * Mean Mr Mustard * J D Mack * John Franklin * Peter J Stein * Lyman Golden * Robert Withstandley * Mandy Moss * Derepentigny Yves * Jamie (Zariouh@worldaccess) * Paul Kelsey Wheeler * Neal K * Gabe (gpp@lclark.edu) * Stephen Moss * Iain A. Dmitrienko * David William Knauff * Mike W Borman * Missy Jurick * Fr. H. Titus Fulcher * Tom Giacomelli * John Sinclair * Dan Sale * Shaun Furlong * Giorgio Tona * "Mr. Wilson and Mr. Heath" * Mike Henderson * Doug McQuirter * Tim Jackson * Mike Dickson * lennon9@earthlink * Grzegorz Radomski * Cassie Shannahan * D.B. Seville * Mirjam Gniste * Stefan Krieger * Jud McCranie * Mark and Anna Schumann * Ivar S. Solfjell * Alderon3@aol * Vince Laine * Craig Munro * Bjorn Blomquist * Katie, Walrus946@aol * SmilyPyth (Leah) * Brian Chase * Joe Silver * Jim Schwan * Matt Holland * Dennis Reidy * Joe Adamo * Rob (Majic12) * Youngboy@aol * BatMelissa@aol * Brian McMurtry * Bala Kumar * Mike & Jerry Sherk * Darcy Gibson * CaterinaF@aol * Paul Hodges * Josh Cippel * Zach Miller * Kent Rodway * EllTabes@aol * Tim Rice-Oxley * Kevin Rains * Alex Bassett * Buda Istvan * Vincent Dubrall * Beatle314@aol * Jenny (Setsuna6@aol) * Han Gaozu * Eggman367@aol * Elizabeth B Palazzolo * Daytripper@juno * Wolfgang Schneider * Jubilee137@aol * Roger Henderson * "Swamp" * Chad Hubble * Mike Frenchek * Mike Schmidt * Tim Scott * Nick Mokey * Justin Reinstein * Robert McFarland * Beanie24@aol * Matt Kupferman * Dave Prokopy * Bruce Benham * Michael J * William J Spiropoulos * Dave Gash * Rick Benson * Tom& Lisa Vitucci * Dom Bagnato * Kendall Hill * Alex J Newsom * Alfred T Koos * HoosierJB@aol * Juan Pablo Donoso * Marty Blaise * GusMach@aol * Sebastian Siadecki * Fiffiol1@aol * VeechM@aol * Beatles19@aol * Biffy the Elephant Shrew * Paul Koepp * Walter F Cox * Amanda Beoletto * Security/SLSA * Bill Anderson * SCthepygmy@aol.com * Karen Morton * Ernesto Juean Castellanos * Ernesto Juan Castellanos * Max Mismetti * Claude Bouchard * Lennon72@aol.com * grandiman@msn * rubbersoul_12@hotmail.com * MickyG98@aol.com * Ugo Coppola * Brandt Heisner * MXX5170404@aol.com * Graeme Jamieson * Brian9091@aol.com * Matthew G Page * Alan LaFleur * koala@mindless.com * PLDennison@aol.com * W Campbell * Chip.Talton@gsc.gte.com * Jose Luis * Kirill Yegorov * Graham Harradine * Pauls@wauknet.com * Almanuel61@aol.com * asw@image.dk * mattw@gis.net * Drew H @ Freeserve * Jeremy Deubler * Mitch Mitchell * SlvrHmr@aol.com * John Paul McVea * fendermn69@aol.com * Erek Barsczewski * R.A.Dare@qmw.ac.uk * David Polo * Vince Capka * Glenn Koury * Guy Bonneville * Kirk Dusenberry * Jennifer (JaimeRingo) * mrkite6777@aol.com * iaind@muskie.uwaterloo.ca * na@accsoft.com.au * DotSeurat1@aol.com * eestewa@regence.com * CoreyTan@aol.com * Paul Snelling * James Harradine * Rick Lindholtz * Laura O'Toole * 4wb1jacksont * gort@callnetuk.com * KCONNORS12

Special thanks to:
* Saki
* Michael Weiss
* Andy Van Pelt
* Joe Brennan

Copyright (C) 1993-1999 Michael Brown, all rights reserved except the following:
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