"Within You, Without You" Mixes

In early April (3 and 4) 1967, the mixes for "Within You, Without You" which was an original George Harrison composition, were experimented and completed. The song consists of three parts, the first verses, the middle section and the final section of verse.
There was a private reduction mix completed early on for George Martin to take away and score a musical section for violins and cellos. You can hear an example of the overdubs on the "Making of Sgt. Pepper" television special and this has also been available on the vinyl bootleg "Arrive Without Traveling" and the CD bootleg "Arrive Without Aging".
The mix from the 3-LP/3-CD Apple/EMI "Anthology 2" project consist of an instrumental leaving the bare backing for the first two minutes before introducing the orchestral overdubs. You can hear George Harrison's sitar clearly. Vocals have been taken out obviously.
The mono and stereo mix present on the commercial "Sgt. Pepper's Lonely Hearts Club Band" LP contains edits between the first part/ second and third part. The edit is smoother on the mono mix (which can be heard at 2:23). Also the mono mix is two seconds longer than the stereo mix as the laughter (which is added to the end of the song as suggested by the composer) is different on each mix.
"Within You, Without You" was also re-mixed by Giles Martin for the Beatles' late 2006 issue of the 2-LP/CD "Love" project and mashed up with "Tomorrow Never Knows".
I've included the "Anthology 2" mix below for your listening pleasure:
https://www.youtube.com/watch?v=9KIE9UX6ycI

Sgt. Pepper's Lonely Hearts Club Band (Reprise) Session

On April 01 1967, The Beatles entered the larger EMI Studio 1 in order to record a reprise of the title song for their upcoming LP. The idea was inspired by the fact that McCartney would usually thank the audience at the concert before the final song to let them know that the show was coming to an end.
Neil Aspinall had mentioned the fact to Paul McCartney and this inspired the song. It took only one day to record with nine takes of the backing as John and George played guitar, Paul on bass and Ringo on drums with George Martin on the harmonium. They all played live as a unit with Paul singing a guide vocal.
Once take nine was completed, vocals by Paul, John and George were added as were some percussion (tambourine and maracas). Finally, some of the audience tape noise was overdubbed onto the beginning of the song with the count-in as well as the end of the song and in various spots throughout.
Take five of this session can be heard commercially in mono on the Apple/EMI 3-LP/2-CD "Anthology 2" set. The same take five can be heard commercially in stereo on the Apple/EMI DVD "Anthology" series.
The mono mix for the original LP was completed on the same day as the recording in nine attempts whereby the stereo mix was completed on April 20 1967 in ten attempts. The mono mix is longer with an extra bar added to the song as well as having Paul's shouting intro louder than on the stereo mix.
Here's an amusing little clip someone put up about the differences with the mono and stereo versions of the reprise on the LP:
https://www.youtube.com/watch?v=CtVF4zl_N0U

"Being For the Benefit of Mr. Kite" Overdubs

In the studios of EMI particularly in number 1 (the largest room) on March 31 1967 The Beatles entered and work was to continue on a John Lennon number entitled "Being For the Benefit of Mr. Kite". Starting at a session from March 28 1967:The basic track was taken off the shelves, dusted off and polished by adding some harmonica and organ at the beginning of the song for the intro - thickening whatever harmonicas were already recorded. Both harmonicas were played by Ringo and George although some sources also mention Mal Evans and Neil Aspinal contributing which is also possible. The middle of the song had some tambourine added by Ringo, a guitar added by Paul, organ by John and George Martin playing the cascading notes on another organ.
The next day on March 29 1967, it seems that John and George "thickened" up the harmonicas by adding a couple more blasts in the intro.The melody being carried at the last instrumental verse was being recorded on this day as well.
Finally, on March 31 1967, the tape loop consisting of various circus recordings and steam engine sounds being cut up and manipulated were added to the last instrumental verse. The final low chord on the organ and a bit of glockenspiel were also added to the tape to complete the song.
You can hear some of the take 09 overdubs with the tape loops, etc. on the commercial version of the Apple/EMI 2-CD/3-LP "Anthology 2" which actually cross-fades from take 07 without the overdubs to take 09 with the overdubs at around the two minute and a half mark.

Good Morning Good Morning Animal Effects

The basic track for the John Lennon composition "Good Morning Good Morning" was pulled off the EMI tape storage shelf on March 13 1967 in order to complete a horn overdub consisting of saxes, trombones and a French horn played by members of the 1960s band Sounds Incorporated who were acquaintances of The Beatles. In addition, on March 29 1967, John Lennon overdubbed his lead vocal and harmonizing with himself as well as the addition of backing vocals by the band and the lead guitar solo played by Paul McCartney (very phased on the mono mix, by the way !!).
It was decided to begin and end the song with an array of animal sounds. You can hear a rooster or crow at the beginning and then there is a variety of animal noises at the end which some researchers contest that they follow one another in the order of which animal devours the next animal (not quite). Sounds includes birds (similar to the beginning of "Across the Universe"), cats, dogs, horses, lions, elephants, chickens, etc.
The isolated animal effects tape can be heard unedited on the bootleg CD "The Lost Pepperland Reel" as well as the youtube post below. The tape was assembled by the EMI staff on either March 28 or 29 1967 and mixed into the song at the same time. The stereo mix has a very slight length difference with a few seconds added compared to the mono mix.
https://www.youtube.com/watch?v=044m7WjDhsY

Completing the title track for "Sgt. Pepper"

March 06 1967 was a busy day at EMI Studio 2 for the Beatles. The overdubbing of french horns for the title track of the newly decided title being: "Sgt. Pepper's Lonely Hearts Club Band".
The horns were mainly added to the chorus of the song as well as the ending whereby they would hold a note while the backing continued. At this point there was no fade out and the bass line and drums continued and then simply stopped once the length of the ending was accomplished.
Once the horns were recorded, George Harrison added his stinging lead guitar to the proceedings and put on the same track as the horns (track 3). Finally, audience ambiance and noise was added to the mix on track four with some laughing and chatting and applause - added to track 4. There was also at the very beginning of the song before the music started whereby the orchestra was warming up and tuning along with some chatting. As stated, the chatting was taken from a library tape whereby the orchestra tune up was taken from the February session of "A Day In The Life" where the orchestra was present for the orgasmic overdub. The isolated crowd noises can be heard on the CD bootleg "The Lost Pepperland Reel".
Three attempts at a mono mix was completed at this session as well as eight attempts at a stereo mix. There are differences in both mixes with the audience noises and the fact that the lead guitar/audience is much louder in the mono mix. The commercial stereo mix has Paul's vocal isolated in one speaker and moving across the stereo spectrum with the group vocals also isolated in the other speaker and also moving around the spectrum. This was changed on the Apple/EMI CD/LP "Yellow Submarine Songtrack" where the vocals were centered and the group vocals were separated on each speaker during the chorus. There is also a breakdown of the title song available on bootleg.

"Lucy In The Sky With Diamonds" mixes

Over the course of time, various mixes of the John Lennon composition "Lucy In The Sky With Diamonds" have been accomplished. The commercial mono mix very interesting for it's amount of "flanging" which is a sort of wobble throughout the song which makes this mix cool to listen to and to compare with the stereo mix (both mixes RM4 and RS5 can be heard on the commerical LP/CD "Sgt. Pepper's Lonely Hearts Club Band").
Overdubs for the final recording evolving into take seven were accomplished on March 02 1967 and included bass by Paul, vocals by John and Paul, some lead guitar and tamboura fom George and drums from Ringo. The recording of overdubs took place in Studio 2 at EMI in London, England.
For the current mixes one anomoly features a mix whereby John Lennon's vocals are mixed out and the voice of Dick Emery (who did the voice for the "boob" in the movie "Yellow Submarine" speaks/sings the first verse). This mono mix was never used in the movie due to the fact that it's been said the Lennon had no interest in sharing the songwriting credit - nor do I blame him !! This mono mix can be found on the CD bootleg "The Lost Pepperland Reel" and the recording was accomplished on November 01 1967. The mix for the commercial Apple 2-CD/3-LP "Anthology 2" includes a stereo mix of the song which uses take six with some tamboura from take 07 added. The date for this particular mix was probably done in the early 1990s.
Finally the mix for the commercial Apple LP/CD "Yellow Submarine Songtrack" moves the drums to the center of the spectrum and was also probably done in the 1990s since the recording was issued in 1999.

"Lucy In The Sky With Diamonds" - Take 06

A new Beatles composition written mainly by John Lennon has surfaced at this time and it would be an addition to the new LP being recorded. The song was entitled "Lucy In The Sky With Diamonds" inspired by John's son Julian's title for a painting he had done at school.
There were rehearsals for the song in Studio 2 at EMI on February 28 but nothing exists from these rehearsals and anything recorded was probably erased.
Attempts at a backing track were also recorded on March 01 1967 once again during the evening at the same location as the rehearsal (Studio 2 at EMI) in London. Seven takes were attempted with the seventh one ultimately used.
We also have take 06 of the backing track with Paul McCartney playing the organ including the opening riff, George Martin is on piano, George Harrison is playing an acoustic guitar and John Lennon is singing a guide vocal along with shaking some maracas. Eventually by the next take, the piano would be taken out and not used on the final recording.
This take can be found on the television special "The Making of Sgt. Pepper" whereby George Martin and Paul McCartney sit at a modern control board and pull faders up and down revealing the sounds. From this soundtrack, the song is also available on the bootlegs "Arrive Without Travelling" on LP and "Arrive Without Aging" on CD.