Notes (by Doctor Bob):

Volume One
---------As on With The Beatles, Volume One of A Hard Day's Night is two discs
long, while Volume Two is only one disc. The first thirteen tracks of
each disc in Volume One are the stereo and mono albums, taken from the
DESS Blue Box Stereo and DESS UK Mono releases.
Tracks 14-17 are the Long Tall Sally EP. The stereo mixes are taken
from DESS Rock and Roll Music -- "channels reversed" indicates that the
left and right channels were accidentally swapped when the US release
of Rock and Roll Music was remastered by George Martin in the
mid-1970s. These are the "UK" mixes of Long Tall Sally and I Call Your
Name, made on June 22, 1964 but unused until 1976 (except for an
Australian Greatest Hits compilation in 1966). The US stereo mixes of
these songs are on disc 1, tracks 21 and 22 (see below).
Tracks 18 and 19 are the German versions of She Loves You and I Want To
Hold Your Hand, respectively. These were recorded due to the belief
that non-German language songs wouldn't sell in West Germany, but were
released in the US because of the demand there for anything by the
Beatles. They were both recorded on two-track machines; Komm, Gib Mir
Deine Hand has the same backing as the English version on one track and
new vocals on the other, while Sie Liebt Dich is a new recording
(although some people theorize that it was also dubbed before the She
Loves You session tapes were lost). These two tracks as they appear on
Past Masters 1 are almost, but not completely mono (the stereo image is
incredibly narrow, but can be widened in software). Brennan lists two
mono mixes for Komm, Gib Mir Deine Hand on the assumption a single was
released in Germany within days of its recording. Although a mix could
have been made in Paris immediately after the song was recorded (and
not recorded by Abbey Road), it seems more likely that the catalog
numbers for the German single were assigned before the it was ready,
and it was released out of order.
Track 20 on Disc 1 is the German mix of And I Love Her, with six
repeats of the guitar riff at the end instead of four. The original mix
has riffs 1-2-3-4, the German mix copies the second and third repeats
into 1-2-3-2-3-4, but the purpose of this is unknown.
Tracks 21 and 22 on Disc 1 are the March, 1964 stereo mixes of Long
Tall Sally and I Call Your Name for the US market. Lewisohn lists these
as never being used, but The Beatles' Second Album was mastered (in the
US) on Mar. 17 and no other times were booked for these alternate mixes
so this is almost certainly when they were done. Barrett lists the tape
these were on as scrapped, but not until 1966. Both the US and UK
stereo mixes of these songs are listed by Purple Chick as RS1 (Barrett
and Lewisohn give no mix numbers for the March mixes), but
differentiated by calling the March mixes RS1#1 and the Junes ones as
RS1#2.
Track 23 on Disc 1 is nearly identical to track 19; only the "Coming?"
at the beginning (and what is that, a burp?) are louder.
Tracks 24-26 and 30-34 on Disc 1 are alternate mixes from The Making Of
A Hard Day's Night made by Ron Furmanek in 1995. (They were intended
for a VHS reissue of the movie itself, but never used.) The first three
are mostly complete, with a few sound effects over the music. The rest

have dialog from the documentary over the songs. Tracks 27-29 are
alternate mixes from the DVD release of Anthology, also with dialog in
some places.
Tracks 20 and 22-27 on Disc 2 are the US mono mixes of several of the
songs, some of them probably intended for the movie but also used on
United Artists' soundtrack album. Track 20 is RM1 of And I Love Her,
with a single-tracked vocal (all other mixes have a double-tracked
vocal). Track 22 is RM3 of Any Time At All, with the piano much quieter
than the UK mono mix. Similarly, Track 24 is RM3 of When I Get Home,
which also has quieter piano and some double-tracking differences.
Track 23 is the long version of I'll Cry Instead, with an additional
verse not heard in the other mixes (it's a repeat of the first verse,
but is a different performance and not a copy); this was also used on
Capitol's mono Something New. Track 25 is RM3 of I'll Be Back and runs
slightly slower and has more reverb than the UK mono mix (added by
Capitol Records on Nov. 10, 1964 with the rest of the mono songs on
Beatles '65). The guitar also seems louder in the US mix. Tracks 26 and
27 are Long Tall Sally and I Call Your Name, with edit and mix
differences; like the stereo mixes, these are listed as unused by
Lewisohn, but are obviously different. Also like the stereo mixes, the
March and June mono mixes of these last two songs share mix numbers.
Both the stereo and mono mixes of I'll Cry Instead were done in two
sections, from takes 6 and 8. Lewisohn and Barrett only list one mono
mix, so the short version may be a further edit to match the short
stereo version (Brennan suggests that the short mono mix is a fold-down
of the stereo mix). A long stereo version was later made for the 1982
re-release of the film by duplicating the first section of the song;
this version isn't used by Purple Chick.
Track 21 on Disc 2 is a mono mix (unnumbered) of Tell Me Why, only used
on the original print of the movie of A Hard Day's Night. It has
different double-tracking when compared to the common mono mix. Neither
Barrett nor Lewisohn list this, but Brennan's sources (on
rec.music.beatles) theorize this mix was made on or around March 3 at
the same time as several other songs for the movie.
Tracks 28 through 31 on Disc 2 are mono mixes of alternate takes from
Anthology 1.
Brennan lists Can't Buy Me Love, And I Love Her, and A Hard Day's Night
as being remixed in 1993 for the CD release of the 1962-1966
compilation, but this seems to amount to narrowing the stereo image and
some panning so they should probably be classified as mix variations
and not new mixes. Purple Chick doesn't include them.
Volume Two
---------Volume Two starts with a leftover from Purple Chick's With The Beatles:
the master mix of This Boy, listed as take 13 but announced as 15.
Tracks 2-7 are take slates of Komm, Gib Mir Deine Hand. Track 8 is a
fragment of a take of Sie Liebt Dich before it breaks down.
Tracks 9-12 are the session (four takes) for Can't Buy Me Love, from
tape E51590. This, along with the German-language songs, were recorded
in Paris on Jan. 29, 1964 -- the only time the Beatles recorded tracks

for EMI outside of England (and possibly London, I'll have to check on
that). These four takes are obviously recorded on four-track recorders
(there's sound originating from the centre as well as the left and
right). And if they had a four-track recorder available, why did they
record the German tracks on twintrack? Especially Sie Liebt Dich, which
was a remake (supposedly -- maybe this means bits of the original
recording really were used?). (Komm, Gib Mir Deine Hand is
understandable, as they sang to a mono mix of the backing track for I
Want To Hold Your Hand.)
Tracks 13 and 14 are takes of the two tracks recorded on Feb. 25, 1964
on tapes E51860 and E51861, both from Anthology 1.
Tracks 15-17 are fragments of songs recorded on Feb. 26 from the
Anthology DVD. Track 18 is from Feb. 27, while track 19 is from Mar. 1.
It's assumed that the music played on the radio on the train in A Hard
Day's Night was a special recording (included here as track 20); Purple
Chick guesses the recording date around Mar. 1.
Tracks 21-29 are the session tapes for A Hard Day's Night, recorded in
an evening session at Abbey Road on Apr. 16 on tape E52399. The early
takes, from Anthology 1 and the Abbey Road Video Show seem to have
additional reverb on the opening chord -- according to Brennan this was
added for the ARVS and eventually Anthology 1 (the later takes lack
it). Take 9 (the master) has been edited into the DESS mono release of
the song.
Tracks 30-35 are part of the session for I'll Be Back, from Jun. 1 on
tapes E52395 and E52396. These are mostly in stereo, being sourced from
the Anthology DVD and video, as well as Anthology 1.
Tracks 36 and 37 are demos recorded on Jun. 3 of songs for possible
inclusion on the next album. Lewisohn stated in Recording Sessions that
no recording was done this day, although songs were rehearsed with
Jimmy Nicol, who replaced Ringo in the early part of the 1964 tour. In
1991, documentation was found to show that some recording actually
_did_ take place that evening, which was noted by Lewisohn in his
Chronicle. At that time, it was believed the tapes were taken by music
publisher Dick James shortly after they were recorded and had gone
missing, but in 1993 they were found misfiled in EMI's archive. First
recorded was George's demo of You'll Know What To Do (listed as You
Know What To Do here and in Anthology, but "You'll" in Lewisohn), which
at least until Anthology 1 came out was the only known recording of
this song. It was followed by a demo by Paul of It's For You (this demo
has never been bootlegged) and John's demo of No Reply. It's a bit of a
mystery who played drums on No Reply: Ringo was ill with tonsilitis,
and Jimmy Nicol was supposedly not present (although he was a session
drummer). Brennan and others have theorized that this last demo was
actually recorded on Sept. 30, due to similarities in drumming and
singing errors on the "your face" line in the demo and take 2 (which is
on Purple Chick's Beatles For Sale).
Tracks 38-48 are recordings made at IBC Studios in London on Apr. 19
for inclusion on an ITV Rediffusion program titled Around The Beatles.
They lip-synced to these recordings in front of a studio audience on
Apr. 28 and the show was broadcast later in May (and on ABC in the US
in November). The first seven tracks are the complete set that was
broadcast (in mono and sans audience), including a medley of their hits
and a rare rendition of Shout (is John trying to get away with singing

"I'm fuckin' shoutin' now!" near the end?). The remainder are in stereo
(from Anthology 1), and sound like they were recorded on two-track
tape. Boys was not used in the broadcast, and the stereo version of
Shout is edited for time. Future Get Back / Let It Be producer Glyn
Johns was the tape operator for these sessions.
Tracks 49-54 are monitor mixes from the Abbey Road Video Show, and
aside from the sound quality are mostly the same as tracks 21-26. The
echo on the opening chord is heard here as well.
Tracks 55-63 are alternate mixes of tracks 8, 15-18 and 32-35,
respectively. If an earlier track was sourced from the Anthology DVD,
it will be from the Anthology VHS here, and vice-versa. The stereo
image differs slightly, and some of the VHS tracks might be in mono.
Bibliography
-----------The Beatles - Alf Together Now
http://web.ukonline.co.uk/rickenbacker/Beatleg_10/Alf_Together_Now.htm
The Beatles Deluxe Editions By Purple Chick
http://x3mkungen.mine.nu/wogev/beatles/pc/index.html
The BeatleSource
http://www.beatlesource.com/
Brennan, Joe. The Usenet Guide to Beatles Recording Variations
http://www.columbia.edu/~brennan/beatles/
Lewisohn, Mark. The Beatles Recording Sessions
Lewisohn, Mark. The Complete Beatles Chronicle
Spizer, Bruce. The Capitol Albums - Duophonic Delights & Mono Mishaps
http://www.whatgoeson.com/features/the-beatles/the-capitol-albums-duophonic-de
lights-and-mono-mishaps.html
Winn, John C. (ed.). John Barrett's Notes