"The Lovely Linda" Recording

Paul McCartney had been literally "missing in action" for the last few months of 1969. He had shut himself down and didn't venture out to any public events nor did he attend to any matters relating to the Beatles' company "Apple". In the meantime, to keep himself busy he started to write some new songs, go through some old songs and record a solo album.
The equipment used on some of the tunes were done at 7 Cavendish in London at home with a four track Studer tape machine and a microphone plugged directly through the Studer channel. I guess this basically meant that levels and the equalization of the instruments/vocals would be refined in the mixing stage of the songs.
In order to test out the equipment, McCartney decided to record a short tune dedicated to his lovely wife, Linda. "The Lovely Linda" consisted of acoustic guitar and vocal, second acoustic guitar, percussion and bass guitar - all played by Paul via overdubbing. The song ended up opening the album.
Since the recording equipment arrived at Paul's home before Christmas 1969, most reference books have placed the recording itself in mid December 1969.
The song was mixed in stereo at Abbey Road Studios in the control room of Studio 2 on February 21 1970 after having a trail mix at Morgan Studios in London earlier in February and ultimately rejected in favour of Abbey Road. The work at both Morgan Studios and Abbey Road were booked under the name of "Billy Martin" (a baseball player) as McCartney wanted to keep the recordings secret from the media and the public until it was finished.
"The Lovely Linda" is the opening track on the Apple LP/CD "McCartney".

"Love Is A Many Splendoured Thing" For Ringo

Another selection from Ringo's debut solo LP. This particular tune was written by Paul Webster/ Sammy Fain and the backing orchestra had been arranged by our friend Quincy Jones and conducted / recorded in Hollywood at the A&M studios on boxing day 1969. Ringo added vocals to the backing track on January 1970 at Olympic Studios in London but all of this was rejected and not released.
So, they started again. Another remake of the song with a new backing track and a 16 piece orchestra including Apple artist Billy Preston on organ was completed in 8 takes at Abbey Road Studios on February 03 1970. Ringo added his vocals and son was actually mixed into stereo at the same session. The mix would eventually be scrapped.
Finally, Ringo once again re-did his vocals on February 05 1970. Later on February 17 1970, a string section conducted by Francis Shaw was added to the recording.
The last session took place on February 19 1970 for the song: added were backing vocals and more organ, vibes and flutes. Stereo mixing took place the next day and also on March 06 1970. A lot of work for a weak song from the Apple LP/CD "Sentimental Journey".
You can hear it here:
https://www.youtube.com/watch?v=HOSRf47pUvU

"Have I Told You Lately That I Love you"/ "Let The Rest of the World Go By" sessions.

Two of the upcoming songs for the Ringo Starr debut solo LP "Sentimental Journey" were completed on February 18 1970 with some final vocals from Ringo in Studio 2 of Abbey Road.
The first one, "Have I Told You Lately That I Love You" composed by Scott Wiseman had the basic orchestral track done in the USA at A&M studios in Hollywood, California earlier on February 03 1970. The song was arranged by Elmer Bernstein and unfortunately is one of the weaker arrangements in the sense that it sounds very, very outdated and corny. Ringo did a good job of his vocals which were done on February the 18th 1970.
The second tune is "Let The Rest Of the World Go By". Les Reed did the arrangement with orchestra and voices and this was completed six days previous to the vocals on February 12 1970. Once again, Ringo added his final vocals to the song six days later in Studio 2 of Abbey Road on February 18 1970. This song was used as the last track on the LP.
Both songs were commercially released on the Apple LP/CD "Sentimental Journey".

"I'm A Fool To Care" Sessions

Another track for the first Ringo solo LP "Sentimental Journey".  This particular track was arranged by Beatles' Hamburg friend and bass player Klaus Voorman. The song was written by Ted Daffan and was originally a hit for Les Paul and Mary Ford.
The backing track was recorded in Studio 2 of Abbey Road with the instrumental rhythm of drums, bass, horn and piano (supposedly played by Beatles' musical colleague Billy Preston) on February 11 1970. It took 21 takes and the last three takes were edited together for the commercial release. With the addition of an acoustic guitar and Ringo's vocal overdubbed, the song was mixed in stereo.
Six days later on February 17 1970, it was decided to add a 15 piece string section to the recording and therefore there was a tape reduction in order to accommodate this. Lastly, the song was once again mixed to stereo with the new addition on February 20 1970 and this was the final mix.
It was released on the Apple LP/CD "Sentimental Journey" and can be heard here:
https://www.youtube.com/watch?v=UhFLSBuI9OI

"Instant Karma" Promo Video

On February 11 1970, The Plastic Ono Band required a promotional video (or "film" as they used to call them in those days) for the single "Instant Karma" since it was rising in the charts and it warranted airplay on visual media (television) for the various top ten shows of the day like "Top Of The Pops" , etc.
It was decided to do a "live" type version of the song. Engineer Geoff Emerick took the song and created a mono mix of the tune as well as removing the vocals in the verses so that it would appear "live" when John sang it. This unique mix was conducted two days before the performance inside Abbey Road Studios.
The actual visual performance was conducted for BBC1 at the Television Center (Studio 8) in London.  John sat behind a piano and sang the song live, Klaus Voorman mined the bass part and Alan White mimed the drums and Yoko appeared near John's piano either knitting blindfolded or holding up placards.
There are two versions of the video: One has John and Yoko (knitting) in black turtlenecks (take 3) and it features Mal Evans on tambourine and a second bass player - a Mr. BP Fallon. The second version has John in a paisley type shirt (take 4) and a jean jacket. Yoko also is wearing a jean jacket and holding placards with various logos printed on them while miming to the song. Mal Evans is not present on this version but has been replaced on tambourine by the above Mr. BP Fallon.
A bootleg of the video soundtrack (take 3) can be heard on the unofficial LP "Doll's House" and (take 4) can be seen on the 1992 "The John Lennon Video Collection".
You can watch take 3 on youtube:
https://www.youtube.com/watch?v=xLy2SaSQAtA

"Dream" Sessions

"Dream" was a song composed by Johnny Mercer and was an early contender for the upcoming Ringo Starr solo LP "Sentimental Journey". The backing track featuring bass, drums and a guitar were recorded in Trident Studios London on November 14.
After the basic track was completed, Ringo decided to add some of his vocals to the tune and ended up over-dubbing two or three different voices to give him a "group" effect sounding like more than one guy singing the song. Once completed, the tape was brought over to Abbey Road and a rough mix was done by Geoff Emerick four days later.
George Martin wrote the orchestral score for the song and it was added to the track in EMI Studio 2 months later on February 10 1970. Once this was completed, the song was mixed in stereo only on February 20 1970 probably at EMI as well.
The song was released commercially on all copies of the Apple LP/CD "Sentimental Journey".
You can hear it here as well:
https://www.youtube.com/watch?v=Mc-JtwzKP-I

"Govinda"

At the beginning of February 1970 George Harrison along with the Radha Krishna Temple members entered Trident Studios in London to record two chants for an Apple single. The A-side was a follow up to the previous chant from 1969 "Hare Krishna Mantra/ Prayer to the Spiritual Masters" (Apple 1810).
The session took place on February 07 and consisted of George on acoustic with Klaus Voorman on bass; probably Ringo was on drums although this cannot be verified. The members of the Temple bought their voices, their bells, flute and organ while John Barham contributed an orchestral arrangement for the recording.
The B-side " Govinda Jai Jai" was also recorded during this time with the Temple members chanting and playing some percussion along with a harmonium. Produced by George Harrison although no instrument was played on the B-side by George.
This single (Apple 1921 in North America) was released the following month in March of 1970 and did nothing in the North American charts although it did reach #26 in the UK charts...go figure. Incredibly, there would be a follow up single and LP released the following year. "Govinda" was included on the commercial LP "The Radha Krsna Temple" (Apple SKAO-3376).

"Who Has Seen The Wind"

The B-side to the "Instant Karma" single on Apple. Credited to the Plastic Ono Band. This song was probably a co-written effort with the music and lyrics shared by John and Yoko although the style of the lyrics is closer to Yoko. The music features John on an acoustic guitar with harpsichord and flute as well as tambourine sounding very medieval.
The composition was recorded at Trident Studios in London and there is little information as to the date or number of takes but it would have been sometime in January 1970.

"Instant Karma" (We All Shine On)

The song "Instant Karma (We all Shine On) was written by John Lennon on the morning of January 27 1970 and in the next 24 hours, the song would not only be written, but also recorded and mixed for commercial release. The song was produced by none other than Phil Spector who (according to John and George) did such an amazing job that he would be given the "Get Back/Let It Be" tapes and would also go on to produce several of John and George's future Apple LPs.
The song was started at John's Tittenhurst Park home on an upright piano located on the first floor. John then traveled to the Apple building on Savile Row in London to complete the song on a piano ordered from a music store and delivered to his office (although there was already a piano located in the basement of the Apple building in the studio, but ...hey). Abbey Road studio was booked that afternoon for an evening session.
The basic tracks were recorded with the following personnel: John on acoustic, George on electric, Klaus Voorman on bass, Alan White on drums and Billy Preston on electric piano. A decision was made to scrap the guitars and use keyboard instead so overdubbed on take 10 of the basic track were Klaus Voorman and John on electric piano and George Harrison and Alan White on acoustic piano. Mal Evans added chimes to accent the chorus words while Phil Spector produced and Phil MacDonald engineered. John added his vocal but wanted a choir in the background for the chorus; Mal Evans was dispatched to find random volunteers and they were brought in from a nightclub to complete the recording. The volunteers also clapped along and a tambourine was also added to the madness.
The song was mixed for stereo overnight (the fourth mix was used for commercial release). Mal Evans brought the tape over to the Apple Studios to get it mastered and the song would be released as an Apple single on February 06 1970 and made the charts as well. Number 3 in the US and number 4 in the UK. Not bad for a song recorded in literally one day.
Apart from the single you can also find the song on the LP/CD "Lennon Legend".

Sentimental Journey

"Sentimental Journey" is the title song of Ringo's very first solo LP. The song was arranged by Ringo's future producer Richard Perry. Richard and Ringo would not meet for a few years yet but Richard would eventually work with Ringo on several recordings and LPs including "Ringo" and "Goodnight Vienna" in the early 1970s.
The orchestral backing for "Sentimental Journey" was completed in late 1969 although I cannot find an exact date and the tape was sent to London. Ringo's vocal - double tracked at various times throughout the middle eight - was recorded at Olympic Sound Studios in London on the evening of January 14 1970.
The song was mixed in stereo at Abbey Road (as it was now being called - formerly EMI Studios) a week later on January 20 1970.

"For You Blue" Overdub and Mixes

The George Harrison song "For You Blue" was originally a feature on the Glyn Johns tape line up on the latest attempt of the "Get Back/Let It Be" sessions. A copy was given to each Beatle and George Harrison decided at some point that he didn't like his lead vocal and that he would overdub a new vocal.
On January 08 1970, this was accomplished in the evening. The studio used for this overdub was at Olympic Studios in Barnes, England. George also ad-libbed his way through the slide and piano solos and the song ends with George saying "Rhythm and Blues".... The song at this point and on the same evening was mixed by Glyn Johns and overdub became the official vocal.
Later in the year on February 28, and for some unknown reason, Malcolm Davies over at EMI re-mixed the song once again. This was not used.
Finally, a month later Phil Spector came in and re-mixed the song once again in stereo for the "Let It Be" project. After the acoustic guitar intro, the instrument disappears and emphasis is on the piano, John's slide and the drums with the new vocal centered. This final mix by Spector would be used on the Apple LP/CD "Let It Be".

Enhanced "Let It Be"

There are two versions of "Let It Be". One is the Glyn Johns Mix and is available on the Apple 45 single, the "1967-1970" compilation as well as the "Past Masters" compilation. The second version and different Phil Spector mix (with a different guitar solo from George) was commercially released on the Apple LP/CD "Let It Be".
On January 04 1970, with Paul, Linda, George and Ringo present the enhancement of the song was recorded by adding some brass overdubs, some cellos (not heard but "felt" on the second mix). Other overdubs included Paul replacing the first version's bass playing which was originally played by John. Two significant overdubs were also added: Some high backing vocals from Paul, George and Linda (the only time Linda appears singing on a Beatles record) as well as a heavy distorted guitar solo from George replacing the tremolo solo on the first version. Percussion overdubs included maracas and extra drum fills at the end during the descending riff (on which Paul added a rhodes piano to double the grand piano).
All of this can be heard on the Phil Spector mix from the LP. Another significant difference is the fact that the end of the song is edited in order to add another pass at the final chorus just before the end riff. There is also a tape delay on the high-hats added during the second verse on the second version.
So there you have it: first version (Glyn Johns mix) with the tremolo guitar solo, shorter song, minimal backing vocals, no brass, no Linda) and second version (heavy guitar, additional chorus, backing vocals with Linda, brass, maracas, Rhodes piano at the end).

"I Me Mine" Recording Session.

During 1969 and going into 1970, work continued on editing the upcoming "Let It Be" film and it was decided to have the recordings reflect the soundtrack heard on the film. This is why the song "Teddy Boy" was eventually dropped from the soundtrack line up and "Across The Universe" was added. The only song missing that was not professionally recorded at Apple or elsewhere was the George Harrison song: "I Me Mine".
So it is that George Harrison, Paul McCartney and Ringo Starr gathered in Studio 2 of EMI in London to complete the recording of the song. John Lennon was in Denmark at this time, so he didn't join the group for this session. George Martin was present as well as the engineer Phil McDonald (who also worked on "Abbey Road). Glyn Johns was also present but had no role in the actual recording of the song.
It took 16 takes to get the song right with George on acoustic, Paul on bass and Ringo on drums. George also sang a guide vocal during the takes. Take sixteen was used as the basic track.
Overdubs include electric piano and hammond organ being played by Paul, more acoustic and lead guitar by George as well as a new lead vocal (doubled and assisted by Paul in the chorus). There are a few mixes out there besides the official one: two days after the recording Glyn Johns mixed the song in stereo (pre-editing) whereby he used the count-in from a different take and adding some chat at the beginning of the track. Another version includes the count - in and take announcement from the original take 16 - this can be found on the "File Under" Beatles vinyl bootleg or on the CD bootleg "Acetates".
There is also a version of the song for the Apple 3 LP/2 CD "Anthology 3" which uses some dialogue recorded before take 15 from George commenting on the absence of John and the song is remixed bringing down the keyboards and bringing up George's electric guitar. This version is also pre-edit.

Live At The Lyceum

There was a concert organized to benefit the charity organization UNICEF that announced there would be an appearance by John, Yoko and the Plastic Ono Band. The concert would take place at the Lyceum Ballroom in London on December 15 1969. Geoff Emerick from EMI was asked to record some of the concert on four track tape for possible release.
The main reason for the concert was to promote both the "War Is Over" John and Yoko campaign as well as promoting the latest Apple single "Cold Turkey"/"Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow". The members of the band contacted were Eric Clapton, Kalus Voorman and Alan White but Eric Clapton decided to bring some of the members of the Delaney and Bonnie Band with him including George Harrison, Delaney Bramlett, Bonnie Bramlett, Jim Gordon, Billy Preston, Bobby Keys and even Keith Moon was on hand among others !!
The recording consisted of the entire crew bashing away on both sides of the single with the original B-Side (Don't Worry Kyoko) lasting over 40 minutes as a jam session. The song as released is heavily edited.
Stereo mixes of the two songs were prepared two days later on December 17 but they were deemed not good enough for release.
In October 1971 during the "Happy Xmas" session at the Record Plant East in New York City, the tapes were brought over and Nicky Hopkins added some keyboards to replace Billy Preston's supposedly "buried" track and some vocals were probably added as well. The original idea was to release the two songs as part of a "Live Jam" LP but plans changed and the tunes were finally released on the bonus Live LP included with the "Sometime In New York City" Apple LP/CD.

Octopus's Garden Re-Mix

In late 1969, it was decided by Yorkshire England's "ITV" television net work to produce a special based on the talents of the Beatles' producer George Martin. The special was recorded at the television studios in mid December and shown on boxing day or on Christmas eve in various areas of the country.
One of the ideas for the show was to have something played by The Beatles which of course could not happen. It was derhcided to have Ringo lip-sync to his latest tune "Octopus's Garden".
Therefore on December 02 1969 at EMI Studio, the original multi-track tape was pulled out and put on the reel. The original drums and rhythm guitar were pulled from the tape and shifted to one channel of the stereo spectrum. The other side of the stereo spectrum contained some of the vocal overdub and some of the bubbling effect. As a quick aside, December 02 was also the day both "Lady Madonna" and "Rain" were mixed in stereo for the eventual "Hey Jude" compilation Apple LP to be released the following year.
On December 08 1969, this new version with drums/guitar was played while fresh bass, piano, lead guitar was added to the tune by unknown session musicians. Ringo simply added his new vocal as well to lip-sync on the show and the song was mixed on twin track tape after 10 takes. The tape was taken away by one of the production members for the television special.
I have not heard this particular version although it has been released in various forms on CDR.

The Beatles' Seventh Christmas Record

The last/ final Beatles Christmas Record to be mailed out to the Fan Club was recorded in November and December of 1969. Unfortunately, the skits and messages were recorded individually by the members of the group with John and Yoko recording from Tittenhurst mansion and grounds, George recording from the Apple building at 3 Savile Row London, Ringo recording from his home in Surrey and Paul also recording from his home in St. John's Wood, London.
The individual tapes were given to radio personality and friend Kenny Everett who edited the recordings. In the 1969 liner notes, Kenny Everett goes under the name "Maurice Cole". John and Yoko feature heavily on this particular Christmas record and George Harrison barely features at all. The messages open with John and Yoko strolling in the garden with "The First Noel" playing in the background. Paul sings a bit of an ad-lib before hearing George wishing everyone a Happy Christmas. We get Ringo strumming an acoustic guitar and "singing" before it's edited to include the song "The End" (the guitar riffs) from their most recent LP "Abbey Road".
A bit of John and Yoko and then a bit of Paul singing his Christmas son on acoustic and vocal. We then get more of John and Yoko in the garden while having "Deck The Halls" playing in the background. This is edited into John playing mellotron in his studio while chatting about Christmas. This is interrupted by Ringo repeating "Merry Christmas" faster and faster and then slowing down to reveal he is now saying "Magic Christian" (in order to promote his latest film). We go back to John and Yoko and the mellotron for a while until the song "The First Noel" becomes prominent and there is finally laughing by Ringo and the end drum beat from "The Ballad of John And Yoko".
The cover is issued in a cardboard sleeve with an out of focus festive photo of a Christmas tree on the front credited to Ringo and a drawing on the back credited to Zak Starkey.  This was issued as a two sided flexi disc in the UK due to the length of the messages (over 7 and a half minutes long).
The Seventh Christmas Record can also be heard on the official Fan Club compilation "The Beatles Christmas Record" LP on Apple in the US and on "From Then To You" by Apple in the UK. You can also hear it on various bootlegs of the Christmas messages including the Vigotone LP and CD "The Ultimate Beatles Christmas Collection". It was re-issued on 45 vinyl in 2017 by Apple as "The Christmas Records" via a box set.

"Ain't That Cute" Session

Doris Troy was an R&B singer from the 1960s and earlier in the year 1969 had been asked by her friend Madelaine Bell if she could sing background vocals on some session with Billy Preston. At the time, Billy Preston had been signed to Apple records and George Harrison had been producing some tunes for Billy as well, so both Doris Troy and George Harrison met at these sessions.
George must have been impressed with Doris as she was also signed to the Apple label in September 1969. Both Doris Troy and George Harrision wrote an original song entitled "Ain't That Cute" which would feature as an Apple single.
The session for the song was was conducted at Trident Studios and Apple Studios in London with George Harrison not only composing the tune with Doris but also playing guitar on the song as well as featuring his talents on slide guitar. Peter Frampton is also on the disc playing lead guitar. Klaus Voorman of the Plastic Ono Band is on bass and Berry Morgan on drums (not Ringo as is assumed).
The single (Apple 24) was released in the UK in February 1970 and in North America as Apple 1820 on March 16, 1970. Unfortunately, although it's a great tune, it failed to chart. A self titled Apple LP "Doris Troy" was released later that same year in November with participation of George and Ringo.

"Stardust"

Another track for the first solo LP by Ringo Starr. The title of the LP was originally to be entitled "Starrdust" with this track being considered the title tune. But it was not to be as the title changed during the sessions.
This particular track was originally written by Hoagy Carmichael. The backing with the orchestra was recorded at Wessix Sound Studios in London on November 07 1969 and Ringo's voice was added at Trident Studios in London a week later on November 14 1969.
A rough stereo mix of the song was attempted at EMI Studios by Geoff Emerick/ George Martin four days later on November 18 1969. It must have been decided around this time to bring Ringo back into the fold to overdub/layer or to once again sing the song.
The reason for Ringo to once again sing the song may have been to double track the vocals in certain sections or to have two choices when mixing the performance. In any case, Ringo came back in and re-did his vocals for the song on November 28 1969. The song was also mixed in stereo at the same session which was completed at Studio Two of EMI Studios and you can hear the results on the official Apple LP/CD.
Although the back cover of the LP credits Paul McCartney as the arranger of this tune, it was actually George Martin who did all the work. The credit was probably some kind of what we would call nowadays a "marketing tool" to try and sell the LP by acknowledging two Beatles involved in the project. Or maybe George Martin was just being kind.

"What's The New Mary Jane" overdubs

On November 26 1969, a session at EMI Studio 2 was booked by John and Yoko for some work on a proposed single containing two unreleased (at the time) Beatles' tunes. This was to be credited as the "Plastic Ono Band" for whatever reason.
The A-side of the single was to be "You Know My Name (Look Up The Number)" and the B-side of the single was to be "What's The New Mary Jane" - which was recorded during the "White Album" LP sessions back in 1968. The idea was to add some vocals and noises to the already busy "What's the New Many Jane" including John and Yoko and various staff from the studio. This particular song was remixed from the original tape and overdubs were added including the addition vocals and some percussion. The entire exercise took up over 6 minutes. There was also an edited version of the "song" with the overdubs done during this session which took the song about 2 and a half minutes.
Eventually, the A-side of this single ended up on the B-side of "Let It Be" and credited to The Beatles whereby "What's The New Mary Jane" would remain unreleased at this point.
This session with it's overdub can be heard on a 12 inch vinyl single released in 1980 entitled "What A Shame Mary Jane Had A Pain At the Party" with an interesting cover.

"Stormy Weather"

The progression for the first Ringo solo LP continued slowly at the end of the year and picking up speed as it went along. The second session for the LP was undertaken at Wessex Sound Studios in London with another "standard" to be orchestrated, conducted and finally adding Ringo's vocal to the orchestral backing.
The song in quesion was "Stormy Weather" written by Ted Koehler and Harold Arlen.
The recording session took place on November 06 1969 with George Martin conducting the orchestra. The arranger of this piece is unknown to me. Ringo entered the studio in the evening and laid down his vocal over the 18 piece orchestra.
There were no mixes made of the song and it was eventually discarded and not included on the LP but the song can be found on various bootlegs including the John Barrett tapes and put on a Vigotone CD entitled "Through Many Years".
Here's youtube link (Ringo's vocal is a bit flat which may be a reason why is was not used).
https://www.youtube.com/watch?v=dwbwDJgrhmM

Night And Day

On October 27 1969, Ringo was summoned to the recording studio to lay some vocals on what would become his first solo album. Ringo had been talking about doing a collection of older standards as far back as the January 1969 "Get Back/Let It Be" sessions and had finally come around to it by the fall of 1969.
The first song recorded for the upcoming project would the Cole Porter classic "Night And Day". The arrangement for the tune was undertaken by Chico O'Farrill.
The first thing recorded would be the instrumental section of the song with a 17 piece orchestra although it's not confirmed if this was in studio one or two of EMI Studios in London. The orchestra was conducted by and produced by George Martin.
Ringo himself would come into the studio later in the evening and lay down his vocal track probably in Studio three of EMI. The song was mixed on the same day for stereo only.
The song was commercially released on Ringo's first Apple LP/CD "Sentimental Journey". The original title for the project was "Ringo Starrdust".

"Don't Worry/Don't Worry/ Don't Worry"

Between October 03 and October 05, work was done on the upcoming single "Cold Turkey/ "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow".
The first recording was the B side with Yoko on vocals, John (Lennon) and Eric (Clapton) on guitar, Klaus Voorman on bass and Ringo on the drums. This line up jammed on a never ending riff while Yoko did her thing all over you. The whole tune was put on tape at Lansdowne Studios (A) in London, England but it was mixed at Abbey Road by Geoff Emerick.
"Cold Turkey" had it's final overdubs done on October 05 at EMI Studio 2 including new vocals and some addition guitar by John solely. Nobody else was involved in the overdubs and it was also mixed by Geoff Emerick at Abbey Road (probably at the same time as the B side).
Both tracks are commercially available: "Cold Turkey" can be heard on the "Lennon Legend" LP while "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow" can be found on Yoko's 1971 Apple 2-LP "Fly". Of course, the live versions can always be heard on the Apple LP "Live Peace In Toronto 1969 - Plastic Ono Band".

Mixing "Across The Universe" For A Charity Album

Back in February 1968, a new single was required by the Beatles before they left for India. One of the songs considered but rejected was John Lennon's "Across The Universe". In the end, John agreed to donate the song for a charity album for the World Wildlife Fund.
Fast forward to January 1969 during the "Get Back/Let It Be" session and an acetate was played to the band to remind them of the song. At this point, the song was in mono and the mix from February 08 1968 was used for the acetate. You can also hear an attempt at the song by the band from January 1969 in the "Let It Be" film.
Fast forward (again) to March 1969 and Apple is thinking of releasing an EP of songs from the film "Yellow Submarine" and including "Across The Universe" as a bonus track. Again, the song was not used.
Finally, the acetate version of "Across The Universe" was used by George Martin on October 02 1969 in order to mix the song in stereo for the UK charity album entitled "No One's Gonna Change Our World" which would be released on December 12 1969. The song was sped up a half tone and animal/bird noises were added to the very beginning and near the end. Acoustic guitar/vocal in the middle surrounded by tamboura and backing vocals on one side and more acoustic, piano, maracas, etc. on the other side of the stereo spectrum.
You can find this version of the song on the UK only charity album as well as the UK version of "Rarities" and the US version of "Rarities" where it made it's first appearance (all of the above on vinyl). You can hear this version on "Past Masters Volume One and Two" (LP) and "Past masters Volume Two" (CD). A fold down mono version can be heard on the "Beatles in Mono" disc.

"Cold Turkey" recording sessions.

"Cold Turkey" was first recorded on September 25 1969 at EMI Studio Three in London. After spending most of the day mixing for the "Live Peace In Toronto" project, he was joined by Eric Clapton on guitar, Ringo on drums and Klaus Voorman on the bass guitar. 26 takes were produced for the basic tracks and were eventually deemed unsatisfactory.
Three days later on September 28 1969, the same line up of musicians attempted another recording at a different studio, this time Trident Studios. On September 29 1969, mixing of the song took place back at EMI Studios. Overdubbing (not sure which instrument and/or vocal) as well as another mix took place almost a week later in Studio Two of EMI.
The September 29 1969 mix was available on an acetate and this is the version that ended up on the bootleg "The Lost Lennon Tapes Volume Seven" LP. This mix has a different vocal and sounds a bit raw with a lack of overdubs. The official commercial release was edited on to the end of the song. The commercial version was mixed at the end of October and issued in stereo only.

Live Peace In Toronto

There was a festival concert held in Toronto, Canada which featured a lot of the 1950s era artists including Little Richard, Gene Vincent, Jerry Lee Lewis, Bo Diddley, Chuck Berry, etc.) and the promoter for the concert had contacted Apple in London on September 12 1969 whereby he hooked up via phone with John and Yoko and had asked John if he wouldn't mind flying over for the festival to maybe introduce an act or two. Lennon must have been very impressed as he insisted on playing at the festival. The promoter accepted and arrangements for the flight was made that very day. Lennon decided on his old Hamburg friend Klaus Voorman for bass duties, Alan White (now known as having played in Yes) on drums and Eric Clapton who was asked via telegram.
The next day at 10 in the morning on September 13 1969, the band gathered at the airport and rehearsed on the plane with no previous practice whatsoever. They decided on a few rock and roll oldies and some newer , easy material. The band arrived in Toronto and were escorted to Varsity Stadium. The band took to the stage with a roar from the crowd and off they went with the following oldies: "Blue Suede Shoes", "Money (That's What I Want)", "Dizzy Miss Lizzie", and more recent material such as "Yer Blues" from the year old Beatles' "White Album", the latest recordings "Cold Turkey" and "Give Peace A Chance". Two Yoko songs were also featured including "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow)" and "John, John (Let's Hope For Peace)". These songs were mixed in stereo in finally released as "Live Peace in Toronto 1969" by the Plastic Ono Band on December 12 1969; another superior stereo mix was conducted for the 1995 release on compact disc of the same title with the same songs in the same order. You can see the concert on the DVD "Sweet Toronto" with the John/Yoko/Plastic Ono Band footage.

"Cold Turkey" Demos

A song being worked on by John Lennon immediately after the "Abbey Road" sessions was "Cold Turkey"...it was brought to the group (Beatles) but was not considered for the sessions. Lennon had decided to record it anyways, and he attempted a demo of the song.
There are three versions with one being the basic track, the second being the basic track with another acoustic guitar and vocals and the third having Yoko in the background contributing her own style of vocal.
All of these demos can be heard in their various forms on the vinyl bootlegs "The Lost Lennon Tapes Volume Six" for the first basic track, "The Lost Lennon Tapes Volume Seventeen" for the second version with the vocal/ acoustic overdub and finally "The Lost Lennon Tapes Volume Twenty" for the final version with Yoko's vocalization added. All the above bootleg vinyl on "Bag" records.

A Mary Hopkin Session Or Two

During the recording for "Abbey Road" in 1969, both Paul McCartney and Ringo Starr took some time out of the Beatles' recording sessions in order to create a new single for their Apple Records artist Mary Hopkin. An undated session was held in July 1969 and another session was held on August 17 1969. Both sessions took place at EMI Studios although the studio number is unknown.
Two songs were recorded; a cover version of "Que Sera, Sera" made famous by Doris Day and written by "Livingston/Evans" - which may be the "in joke" throughout the Get Back/Let sessions and Ms. Day is even mentioned on the track "Dig It" from those days as well as some spoken references during that period. But I digress. The B side of the single would be "The Fields of St. Etienne" written by the Apple in-house songwriting team of "Gallagher/Lyle".
Both "Que Sera, Sera" and "The Fields of St. Etienne" were produced by Paul McCartney although on the back over of Mary's "Those Were The Days" Apple LP the credit is incorrectly listed as produced by Mickie Most. Paul plays the acoustic guitar on both songs; Mary also plays acoustic on the B side. Ringo plays drums and percussion for the A and B sides as well as tambourine, handclaps, etc. There is an orchestral style overdub on the last chorus of "Que Sera,Sera" or it may be a keyboard with sustaining chords. Also it is a mystery as to who arranged the orchestration for "The Fields of St. Etienne" - is it George Martin? Richard Hewson? Anyway, the other mystery is the male voice added to the last verse in the B side.
The single was originally released in France in 1969 but released in North America as Apple 1823 as well as being released commercially on the compilation Apple LP "Those Were The Days" as well as being re-issued on compact disc in 1995 and on the remastered Apple box set on CD in 2010.

The Orchestral Overdubs

One of the last things recorded for the upcoming "Abbey Road" LP were the orchestral overdubs with arrangements by George Martin for: "Golden Slumbers/Carry That Weight" as well as the two George Harrison compositions "Something" and "Here Comes The Sun".
For "Golden Slumbers/Carry That Weight", a final overdub on July 31 1969 in Studio 2 at EMI consisted of Paul's re-doing his lead vocal as well as overdubbed guitar and drums probably all played by Paul at this point. The orchestral recording was conducted on August 15 1969 in Studio 1.
For "Something", George Harrison also re-did his lead vocal for the song on July 16 1969 in Studio 2 of EMI with Paul on harmonies. George also re-did his guitar solo in the middle on August 15 1969 the same day as the 21 piece orchestra was added in Studio 1 as well.
Finally, handclaps were added to "Here Comes The Sun" on August 11 1969 with the orchestra overdub once again on August 15 1969. All the orchestra overdubs were done on the same day in Studio 1. The moog overdubs were added four days later by Harrison and the song was mixed for stereo on the same day as well - August 20 1969.

"Oh! Darling/ I Want You (She's So Heavy)" Sessions

Nearly finished with the main recording for the upcoming "Abbey Road" LP, a few sessions still took place during the month of August 1969 - for instance, Paul McCartney entered Studio Three at EMI to add some tambourine and guitar to "Oh! Darling" although the guitar is not evident on the released track. Two days later, John, George and Paul added some backing vocals to the song and this was to be the last Beatles recording with John Lennon contributing. The song was mixed into stereo the next day on August 12 1969 and released on the Apple "Abbey Road" LP/CD.
Also being work on was Lennon's "I Want You (She's So Heavy)". The original 35 takes with the backing track had been recorded back in February 22 1969 at Trident Studios in London with Billy Preston. An edit of the backing track takes number 9, number 20 and number 32 were mixed into mono for John to take away. On April 19 1969, both John and George Harrison overdubbed multiple guitars onto this track and eventually the entire thing became take 1. The next day congas and organ (by Billy Preston maybe) were overdubbed onto take 1. On August 08 1969 at EMI Studios, the moog synthesizer white noise was added to the ending of the song but they placed it on the wrong tape reels pre-mix so when the vocal harmonies were added on August 11 1969, the ending was edited from the "She's so..." part so that the moog synth could be brought into the song.
Finally on August 20 1969, "I Want You (She's So Heavy)" was mixed for stereo with the main body of work from the "take 1" and the remainder from the "She's so...."part and the ending. Although the song lasted over 8 minutes, John Lennon decided to have an abrupt ending and asked the tape engineer to cut off the ending at an unspecified time which is how the song suddenly stops at the end of side one on the "Abbey Road" LP.

"Maxwell's Silver Hammer" Final Recording and Mixing

Back on July 11 1969, overdubs for "Maxwell's Silver Hammer" were recorded by adding some extra vocals at the very end of the song singalong. There was also an electric guitar added during the chorus part as well as the end part.
Paul McCartney had decided to add a Moog keyboard part to the final verse of the song so he went in on August 06 and played the part during a reduction mix with take 27 being the one used. This left the task of mixing the song. All songs on "Abbey Road" were given stereo mixes (no true mono mixes exist). The only "mono" pressings are all fold down mixes with a lot of the releases in South America.
"Maxwell's Silver Hammer" was mixed in stereo on both August 06 and August 12 1969. Interestingly, the entire song and the final verse were separately mixed and the tape (with the Moog) spliced onto the rest of the song. Finally, on August 25 1969, the four bar instrumental introduction was removed by editing and the song starts cold into the first verse with Paul's vocal.

"Because" Session

The backing track for the John Lennon composition "Because" consisted of 23 takes with sparse instrumentation. Take 16 was used for the commercial recording. John played his electric guitar along with a Baldwin harpsichord played at the same time by producer George Martin and bass added by Paul. Although you can't hear it, Ringo was tapping his high hats to keep time while the song was being played.
There were two vocal sessions for the tune: one was on August 01 and the other on August 04 1969 with John, Paul and George sharing harmonies. This vocal arrangement was written by George Martin who deserves the credit. The song was recorded at EMI Studio 2 in London.
Bootlegs of the vocal only harmonies are available with such examples as the vinyl "Unsurpassed Masters, Volume 5 & 6" and the CD "Not Guilty" among others. The problem is that there is leakage from the headphones you can still slightly hear the instrumental backing being played. The commercial release of the vocal only version can be heard on the Apple/EMI 3LP/2CD "Anthology 3" as well as a version on the Apple/Universal "Love" soundtrack. The difference between the bootlegs and the commercial versions is that the leakage of the instrumental backing is lessened on the commercial versions using using studio faders in between the vocal sentences to bring the sound down.
The moog sythesizer solo was added from Room 43 (George Harrison's moog brought from his home was used - the same one used on his "Electronic Sound" solo Zapple LP) as an overdub on August 05 1969. The solo was played by George Harrison as well. Finally, "Because" was mixed in stereo only on August 12 1969 and included for the upcoming LP at the time.

Tidying Up and the "Huge Melody"

A bit of tidying up for the "Abbey Road" sessions was continuing during the month of July 1969. For "Come Together", overdubs including the electric piano, maracas and John Lennon's main vocal on July 22 1969 with Paul adding a harmony in the verses three days later. The lead guitar during the ending was overdubbed on July 30 1969. The stereo mix was completed August 07 1969.
Also in late July, work continued on the side two long medley. It had been decided to use an instrumental written mainly by Paul including a drum solo from Ringo which at this point was entitled "Ending" later to be credited by "The End" on the LP. The basic track including guitars, piano , bass and drums were completed in 7 takes on July 23 1969. Two days later "Polythene Pam/ She Came In Through The Bathroom Window" were recorded in 39 takes with George on electric, John on acoustic, bass and drums as well. The bass and drums would be re-done as well.  Overdubs continued on both July 28 and 30 1969 including more keyboards, guitars, vocals, maracas, tambourine, etc.
Other work included Paul adding his bass to "You Never Give Me Your Money" on July 07 1969; the backing vocals and percussion were added on July 15 and more backing vocals on July 30 1969.
So the main task of the July 30 1969 session was to put together a "test" tape of the huge melody which at this point lasted about 15 and a half minutes. It was decided probably by Paul the "Her Majesty" be removed from it's place between "Mean Mister Mustard" and "Polythene Pam".  The engineer removed the song but tagged it at the end of the medley. Mal Evans took away the tape to Apple whereby it was cut as an acetate for working purposes and the tape was brought back to EMI Studios. Upon hearing "Her Majesty" at the very end of the acetate with the 20 seconds silence, it was decided to keep it that way and the commercial LP actually has the end chord of "Mean Mister Mustard" with the last chord of "Her Majesty" cut just before the last chord as well as the 20 seconds of silence. The original mix of the "Huge Melody" at this point had an organ chord at the end of "Sun King" which would be filled with sound tapes and "The End" is in it's original shorter form.
The July 30 1969 version of the "Huge Melody" can be found on the bootleg CD "Unsurpassed Masters Vol. 05" as well as the CD "No. 3 Abbey Road N.W." (although the difference is the placement of "Her Majesty" for both).

"Ain't She Sweet", "Sun King/Mean Mr. Mustard"

Two sessions were held for the second part of the "Huge Melody" at EMI Studios on July 24, 25 and July 29 1969. This consisted of two songs mainly written by John - "Sun King" and "Mean Mr. Mustard". Two different feels and two different tempos but recorded as one entity. Both John and George on guitars, Paul on Bass and Ringo on drums was the instrumental line up for the basic track. Paul turns on his distortion pedal for the second part.
As the basic track was progressing for the July 24 session, John lead the band into a couple of Gene Vincent covers, namely "Ain't She Sweet", "Be Bop A Lula", etc. The tune "Ain't She Sweet" was released as a track on the Apple/EMI 3LP/2CD "Anthology 3" project.
Overdubs for this medley were conducted over two days; namely July 25/29 in Studio 2 and 3. This included the three-part harmonies for "Sun King", maracas and bongos and an organ of which started the original medley with one note but progressed throughout the song. For "Mean Mr. Mustard" piano and tambourine were added, vocals by John with harmonies by Paul starting in the second verse. It's also interesting to note that the original name of Mr. Mustard's sister was "Shirley" but obviously this was changed due to the running order of the huge melody.

"Come And Get It" - Take One

On July 24 1969 at EMI Studio 2 in London and during the Beatles "Abbey Road" sessions, Paul McCartney had decided to create a demo recording of his new composition "Come and Get It". This song was to be given to the Apple Records Group "Badfinger" to record for the upcoming movie soundtrack to "The Magic Christian" starring Peter Sellers and featuring Ringo Starr as well.
Paul had a spare hour before George and Ringo arrived and recorded the demo with John Lennon in attendance although only Paul participated. Instead of just an acoustic demo, Paul recorded piano and vocal on one track, a vocal overdub and maracas on the second track, bass guitar on the third and drums on the fouth completed the song in one take !! It was mixed in stereo by engineer Phil MacDonald who was also working on the "Abbey Road" project. An acetate was made and given to Badfinger.
This incredible would have made for a great single from the sessions - imagine if The Beatles themselves had all played on it....oh well !
In the early 80s the song was remixed by Geoff Emerick in fake stereo (who knows why he did this when EMI still had the multitrack and the original stereo mix). The song was to be used on the aborted "Sessions" LP but it appeared this way from a secondhand mono tape on the bootleg LP "File Under Beatles". In the middle 80s the song appeared on some of the bootleg "Sessions" LPs with Geoff Emerick's fake stereo mix. Amazingly, when the demo was officially released on the Apple 3-LP/2-CD "Anthology" series, they used the same fake stereo mix once again and considering the superior mix was available to Apple, they screwed it up again.
Lastly, if you want to hear the song in true stereo and original mix, pick up a CD copy of "Another Sessions...plus" and/or "Mythology Vol.3".

"Come Together" Take 1

On July 21 1969, a John Lennon composition was attempted at EMI studio 3 with The Beatles and George Martin. "Come Together" would eventually open side one of the classic LP as yet untitled. On the Anthology 3 2 CD/3 LP, we have take 1 from these recording sessions.
The take consists of John on hand clapping, vocal and tambourine, Paul on bass, Ringo on drums and George on guitar. John is doing a guide vocal with variations on the lyrics and his voice is shot...haha.
Interestingly, this is the final song Lennon wrote specifically for The Beatles. It was originally intended to be used as a campaign song for Timothy Leary as the story goes.
https://www.youtube.com/watch?v=C39I2LIlLGc

An early take of "Something"

This George Harrison composition started life as a demo recorded in February 1969 as a solo recording. The Beatles started work on the song May 02 1969 with John on the piano, George on guitar, Paul on bass and Ringo on the drums. The basic track was completed in 36 takes with a prolonged jam at the end of the song which brought the timing up to (almost) eight minutes.
On May 05 1969, the song was put back on the recorder and Paul re-did his bass part with George adding his superb middle guitar solo. The song remained in this state until July 11 1969 at EMI Studio 2 when vocals were added by George - double tracked in the chorus parts. A reduction of the tracks combining various instruments left two tracks open and bringing the song to take 37.
This version of "Something" can be heard on the vinyl bootleg "No. 3 Abbey Road N.W. " as well as on the CD bootleg "Unsurpassed Masters Vol. 5". Later on in August 1969 a new vocal, new guitar solo and the orchestration would be added.
As an aside, pictured above is the Canadian version of the Apple single, who had originally put "Come Together" on the whole side (A side) of the single and had relegated "Something" to the sliced Apple side (B side). These first pressings were subsequently corrected and they remain collector's items.

"Maxwell's Silver Hammer"

On July 09 1969 The Beatles (minus John) started work on the McCartney composition "Maxwell's Silver Hammer". The first trials for the tune were being worked out earlier in the year in January 1969 via the "Get Back/ Let It Be" sessions at Twickenham studios. The song was later discarded when recordings for the January project moved in mid month to Apple Studios.
Fast forward to the summer of 1969 and the new LP as yet untitled. These sessions in July feature Paul on piano and guide vocal, George on bass and Ringo on drums. Take 05 has survived and is now commercially available on the Apple 3-LP/2-CD "Anthology 3" project. It's interesting for the vocal improvisation from Paul in the third verse as well as the instrumental part of the song. There is also a piano flourish ended. It's good take but more takes would be recorded later in the day until take 21 was chosen as the "best" take with acoustic guitar overdub.
The next day on July 10 1969, more overdubs were added to take 21 with some extra piano bits here and there played by Paul, George Martin adding hammond organ to the original two bar intro which would be edited out of the commercial "Abbey Road" LP version. Other additions included a leslie'd electric guitar from George and Ringo added some anvil hits in the chorus and at the end of the song.
The main lead vocal from Paul was added as well as backing vocals on the choruses by Paul and George and the final "Maxwell Silver Man" end chorus included Ringo as well. Once this was completed, a mono mix of the song appears on the vinyl bootleg "No. 3 Abbey Road N.W. 8" as well as on CD as "Unsurpassed Masters Vol. 5" with both containing the original intro and the take announcement "take 21".

"Her Majesty/ Golden Slumbers/Carry That Weight"

There are two early takes from the "Abbey Road" sessions at EMI Studio 2 taken from July 02 1969. It's been said that McCartney would always arrive to the studio slightly earlier than the rest of the band due to his close living quarters in St. John's Wood. On this day he was early and decided to run through his tune "Her Majesty" which was first introduced during the "Get Back/Let It Be" sessions earlier in the year. He recorded three takes on two tracks - one track for acoustic guitar and  the other track for vocals - with the third being eventually used on the commercial LP with an edit (more on that later) but we can hear the entire take with the last strummed chord in mono on the bootleg LP and CD "No.3 Abbey Road N.W. 8" as well as on the CD "Unsurpassed Masters Vol. 5".
After both George Harrison and Ringo Starr arrived for the session, attention was turned to a new McCartney tune entitled "Golden Slumbers" which segued into "Carry That Weight" recorded together with Paul on piano and guide vocal, George on bass and Ringo on drums. John and Yoko were still recovering in Scotland at that time.
The raw recording - take 13 - of "Golden Slumbers/ Carry That Weight" can also be heard on the above bootlegs. Overdubs would be added later in the sessions.

An Early Version Of "You Never Give Me Your Money"

One of the very last basic tracks recorded at the very, very end of the "Get Back/Let It Be" era was at Olympic Studios in London on May 06 1969. The basic tracks were for a McCartney composition entitled "You Never Give Me Your Money" being fragments of leftover tunes in his head. This would be the beginning of a larger melody issued on a later album. Glyn Johns was present in the control room for the basic tracks.
Paul was on piano and guide vocal, George on an electric guitar going through a leslie speaker, Ringo on drums and John on another electric guitar. 36 takes were attempted and the take used for commercial release and overdubs would be take 30.
After this session, The Beatles took a bit of a break and went their separate ways for about a month and a half. It was during this break that Paul had contacted George Martin about recording a new LP like they had used to do it in the recording studios and the "Abbey Road" sessions got under way for the month of July and August.
Unfortunately during a trip to Scotland, John had been in an automobile accident with Yoko and therefore missed the first few recording sessions at the beginning of July.
The first order of business for the session (now at EMI Studios number 2) on July 01 1969 was overdubbing Paul's vocal onto "You Never Give Me Your Money". You can hear this version (pre-overdubs) on various bootlegs including the vinyl LP: "No. 3 Abbey Road N.W. 8" as well as the CD "Unsurpassed Masters Vol. 5" with a few strand notes at the beginning of the take.

"Give Peace A Chance"

In the late evening of May 30 1969 as John and Yoko were holed up in room 1742 of the Hotel Reine Elizabeth in Montreal, John grabbed his acoustic guitar and taught a few other people in the hotel room including Tim and Rosemary Leary.
Derek Taylor contacted EMI Canada and was sent a mobile recording unit through independant engineer/producer Andre Perry, a local. Andre brought up a four track Ampex that he had rented from RCA and arrived at the hotel room the next night (May 31 1969). While the recording and filming equipment was being prepared for the event, John and Yoko ran through the song with others in the room including Tommy Smothers, Timothy Leary and Rosemary Leary, Derek Taylor and some Krishna devotees.Rabbi Abraham Feinberg, Allan Ginsberg, Murray the "K" and others.Tommy Smothers played the second acoustic guitar and the Krishna people supplied some percussion.
After a couple of rehearsals with the singalong and John instructing the gang to "clap on the off-beat" - which is the two and four if you are musical - the recording used was taped at 11 in the evening with four microphones - two for the guitars and main vocals and two for the room crowd and ambience.
On June 01, Andre Perry took the tapes and transferred them from 4 track to 8 track. He had some session players sing along on the chorus and added a thumping drum beat to the song. Also, the tune was sped up a bit on the commercial releasse.
The song reached number 2 in the UK and number 14 in the us when it was released as an Apple single in 1969 along with Yoko's "Remember Love". The US release does not have a count-in. The original mix from the hotel room attributed to the promo film can be heard on the bootleg vinyl "The Lost Lennon Tapes Volume Twenty-Four".

"You Know You Know My Name"

In the spring of 1967, John Lennon visited Paul McCartney at his home on Cavendish Ave in London and spotted the London telephone book with the slogan "You know their name? Look up their number". This mantra would be repeated over and over in John's mind and he set music to it.
On a May 17th 1967 recording session, a rhythm track was recorded with acoustic guitars, bass and drums. After 14 attempts the ninth take was chosen and the session came to a close. Fast forward to another session on June 07 with overdubbed piano. The next day (June 08 1967) Brian Jones of the Stones appeared at EMI Studios after Paul had asked him to contribute to the track. Brian brought along an alto sax and many versions of the mantra were recorded which would be edited together to complete the track.
Along with take 09 of the first part recorded back in May, four other parts would be recorded on June 08 as well with Paul on piano, Brian Jones on sax (on the "ska" section and the "Jazz club" section as well). There was also a "nightclub" section with some latin type percussion and the final "Part 5" section featuring noisemakers. All of the five parts were edited together and called take 30. These parts were then transferred to one track of a four track tape and basically left there for the time being.
In the spring of 1969, on April 30 in EMI Studio 3, John and Paul added their silly voices to the backing tracks of the various parts of "You Know My Name (Look Up The Number)" along with some background bits such as shouting, applause, etc. Three mono mixes of the song were also completed on this date.
Fast forward to November 26 1969 and the original intent was to release the tune along with "What's The New Mary Jane" as a single and credit the songs to the Plastic Ono Band.
The mixed used was the third mono attempt with two minutes and seventeen seconds edited out. The song was eventually released commercially as the B-side to the Beatles' Apple Single "Let It be" in 1970.
The song remained in mono until the Anthology project when it was released commercially in stereo for the first time. Unfortunately, this edit removed 27 seconds including parts of the commercial release as well as fading out a few seconds before the ending. This stereo, edited version can be heard commercially on the Apple 3LP/2CD "Anthology 2". The entire unedited song can be heard on bootleg (lasting over six minutes) on the title "Upgraded Collection-Highlights" in mono/stereo.