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29 de Abril
1962-Esta era a 16° de 48 noites dos Beatles em  Hamburgo no Star-Club, o mais novo ponto de rock da cidade


Os Beatles tocaram em três estadias  separadas no clube em 1962. Esta foi a primeira, e viu o grupo se apresentar num total de 172 horas ao longo de sete semanas. Sua única noite de folga era Sexta-feira Santa, 20 de abril.



Esta primeira temporada no Star-Club começou na sexta-feira 13 de abril e chegou ao fim em 31 de maio de 1962. Os Beatles deixaram Hamburgo, no sábado 02 de junho.



Foi a terceira residência dos Beatles em um clube de Hamburgo,em dois anos, e depois de uma série de shows no Indra, o Kaiserkeller e o Top Ten Club.


April 29
1962-This was The Beatles' 16th of 48 nights at Hamburg's Star-Club, the city's newest rock 'n' roll venue.


The Beatles played three separate residencies at the club in 1962. This was the first, and saw the group perform for a total of 172 hours over seven weeks. Their only night off was Good Friday, 20 April.



This first stint at the Star-Club began on Friday 13 April, and came to a close on 31 May 1962. The Beatles left Hamburg on Saturday 2 June.



It was The Beatles' third residency in a Hamburg club within two years, and followed a series of shows at the Indra, the Kaiserkeller and the Top Ten Club.

 Lend Me Your Comb
(Perkins)
Lend me your comb,

It's time to go home.
Gotta confess,
My hair is a mess

Your mammie will scold,
Your pappie will shout.
Unless we come in
The way we went out.

Kissing you was fun honey
But thanks for the date.
But i must come to run honey,
But you know baby it's getting late.

Just wait till i 
Straighten my tie.
Lend me your comb.
We got to go home.

Kissing you was fun honey
But thanks for the date.
But i must come to run, honey.
But sugar, it's getting late.

Just wait till i
Straighten my tie
Lend me your comb.
We got to go home.
*" Lend Me Your Comb" é de um compacto de 1956 de Carl Perkins-, do amplo repertório que o grupo tocava em suas apresentações na época.

* "Lend Me Your Comb" is from Carl Perkins' compact of 1956-, from the large repertoire that the group played in their presentations at the time.

The Beatles:Albuns, Files & complete discography by Jeff Russel 


28 de Abril
1966-A primeira sessão de uma das canções mais famosaa e mais amadaa de Paul McCartney, Eleanor Rigby, aconteceu neste dia, com a gravação do backing de um octeto.


Quatorze takes das cordas de apoio foram gravados, o último dos quais foi o melhor. Os instrumentos foram gravados dois faixa, e um mix de redução - numerada take 15 - foi realizado no final da sessão de liberar mais três faixas.



Um novo mix do apoio instrumental foi feito em 1995 para a coleção Anthology 2, apresentando as cordas em estéreo pela primeira vez.


April 28
1966-The first session for Paul McCartney's most famous and best-loved songs, Eleanor Rigby, took place on this day, with the recording of the string octet backing.


Fourteen takes of the strings backing were recorded, the last of which was the best. The instruments were recorded two per track, and a reduction mix - numbered take 15 - was made at the end of the session to free up three further tracks.



A new mix of the instrumental backing was made in 1995 for the Anthology 2 collection, presenting the strings in full stereo for the first time.

Eleanor Rigby
(Lennon/McCartney)
 
I look at all the lonely people
I look at all the lonely people

Eleanor Rigby picks up the rice in the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face that she keeps in a jar by the door
Who is it for?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie writing the words of a sermon that no one will hear
No one comes near.
Look at him working, darning his socks in the night when there's nobody there
What does he care?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby died in the church and was buried along with her name
Nobody came
Father McKenzie wiping the dirt from his hands as he walks from the grave
No one was saved

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

*A música foi concluída em Kenwood quando John, George, Ringo e um amigo cde infância se reuniram em uma sala cheia de instrumentos. Cada um contribuiu com idéias para dar substância a história. Father "McCartney" apareceu, Ringo sugeriu que ele poderia estar cerzindo meias. Paul, depois mudou o nome do padre (procurando na lista telefônica veio McKenzie). George trouxe a parte sobre 'pessoas solitárias'.

*The music was completed in Kenwood when John, George, Ringo and a childhood friend met in a sla full of instruments. Everyone contributed ideas to substantiate the story. Father "McCartney" appeared, Starr suggested he might be darning socks. Paul, then changed the name of the Father (looking in the phone book came McKenzie). George brought the part about 'lonely people'.
  

The Beatles book by Steve Turner



27 de Abril
1967-O trabalho continuou na música Magical Mystery Tour durante esta sessão, com a adição de mais vocais e o início de alguns Mixagem Mono. Paul McCartney overdubbed uma parte da voz principal em três faixas da fita, com o backing de John Lennon e George Harrison. Quatro mixagens em mono foram então feitas para demo e cortadas para acetatos, presumivelmente para as trombetas poderema ser marcadas. Este mix tratou os vocais de McCartney com double racking artificial e pianos mais altos durante o prolongamento. 

April 27 
1967-Work continued on the Magical Mystery Tour song during this session, with the addition of more vocals and some initial mono mixes. Paul McCartney overdubbed a lead vocal part onto track three of the tape, with backing by John Lennon and George Harrison. Four mono mixes were then made for demo purposes and cut onto acetates, presumably so the trumpets could be scored. This mix treated McCartney's vocals with artificial double tracking and had louder pianos during the coda.
  
Magical Mystery Tour 
(Lennon/McCartney)
Roll up, roll up for the magical mystery tour, step right this way. 
Roll up, roll up for the mystery tour.
Roll up, roll up for the mystery tour.
Roll up (AND) THAT'S AN INVITATION, roll up for the mystery tour.
Roll up TO MAKE A RESERVATION, roll up for the mystery tour.
The magical mystery tour is waiting to take you away,
Waiting to take you away.
Roll up, roll up for the mystery tour.
Roll up, roll up for the mystery tour.
Roll up GOT EVERYTHING YOU NEED, roll up for the mystery tour.
Roll up SATISFACTION GUARANTEED, roll up for the mystery tour.
The magical mystery tour is hoping to take you away,
Hoping to take you away.
A mystery trip.
The magical mystery tour.
Roll up, roll up for the mystery tour.
Roll up (AND) THAT'S AN INVITATION, roll up for the mystery tour.
Roll up TO MAKE A RESERVATION, roll up for the mystery tour.
The magical mystery tour is coming to take you away,
Coming to take you away.
The magical mystery tour is dying to take you away,
Dying to take you away, take you today.

 *Em 25 de Abril, Paul chegou aos estúdios da Abbey Road apenas coM o título da canção, o primeiro verso e uma idéia geral da melodia. Ele disse que queria que sua nova música fosse como um comercial para o programa de televisão, que informasse aos telespectadores o que os aguardava.

* On April 25, Paul came to the Abbey Road studios only with the song title, the first verse and a general idea of the melody. He said he wanted that his new music was like a TV commercial , that inform the viewers what was awaiting for them.

The Beatles book by Steve Turner



26 de Abril
1969-Os Beatles começaram a trabalhar na segunda gravação de uma composição de Ringo Starr, Octopus Garden, gravarama 32 takes do ritmo básico.
Antes deles começarem, no entanto, Paul McCartney fez sua primeira tentativa de gravar a voz principal para Oh! Darling. McCartney primeiro apagou o órgão Hammond Gravado em 20 de abril de 1969.
Então ele fez um overdubbed nos vocais no take 26, mais um segundo take com voz de falsete. Então ele gravou dois takes de vocal harmônico, principalmente no final do verso. McCartney teve que regravar os vocais várias vezes nos dias subsequentes antes de ficar satisfeito.
Para Octopus's Garden, McCartney tocou baixo,Starr cantou o vocal líder e tocou bateria, e John Lennon e George Harrison ficaram nas guitarras. A guitarra de Harrison foi implementada por um alto-falante Leslie. Trinta e dois takes foram registrados, o segundo foi incluído no Anthology 3 em 1996, juntamente com o comentário de Starr "Bem, isso foi soberbo" que sucedeu o take 8. A sessão começou às 16:30 e terminou às 04h15 da manhã seguinte.

April 26
1969-The Beatles began work on Ringo Starr second-recorded composition, Octopus's Garden, taping 32 takes of the basic rhythm track.
Before they began, however, Paul McCartney made his first attempt to record a lead vocal for Oh! Darling. McCartney first erased the Hammond organ part recorded on 20 April 1969.
He then overdubbed his lead vocals onto take 26, plus a second take in a falsetto voice. He then recorded two harmony vocal takes, mainly in the final verse. McCartney would re-record his vocals a number of times on subsequent days before being satisfied.
For Octopus's Garden, McCartney played bass guitar, Starr drummed and sang a guide vocal, and John Lennon and George Harrison were on guitars. Harrison's guitar was put through a Leslie speaker. Thirty-two takes were recorded; the second was included on 1996's Anthology 3, along with Starr's comment "Well that was superb" which followed take 8.The session began at 4.30pm and finished at 4.15am the following morning.
  
 Octopus's Garden
(Starr)
I'd like to be, under the sea
In an octopus' garden in the shade
He'd let us in, knows where we've been
in his octupus' garden, in the shade.
I'd ask my friends to come and see
An octopus' garden with me
I'd like to be under the sea
In an octopus' garden in the shade.
We would be warm, below the storm
In our little hideaway beneath the waves
Resting our head, on the sea bed
In an octopus' garden near a cave
We would sing and dance around
because we know we can't be found
I'd like to be under the sea
In an octopus' garden in the shade
We would shout(out) and swim about
The coral that lies beneath the waves
(Lies beneath the ocean waves)
Oh what joy for every girl and boy
Knowing they're happy and they're safe
(Happy and they're safe)
We would be so happy you and me
No one there to tell us what to do
I'd like to be under the sea
In an octopus' garden with you
In an octupus' garden with you
In an octupus' garden with you.
*A segunda (e última) canção do Ringo foi inspirada nas férias em família que ele tirou em 1968 na Sardenha a bordo do iate de Peter Sellers. Depois que Ringo recusou uma oferta de polvo para o almoço, o capitão da embarcação começou a contar a ele tudo o que sabia sobre a vida dos polvos.
*The second (and last) Ringo's song was inspired in a vacation with family that he took in 1968 in Sardenha on Peter Seller's iate.After the Ringo's refuse an offer of octopus for lunch, the captain of the ship started to tell him everything he knew about the octopuses life.

The Beatles book by Steve Turner


25 de Abril
1969-Um mix mono foi criado da canção Let It Be, Two Of Us, durante esta uma hora de duração da sessão tarde da noite.
O mix permitia que um disco de acetato cortasse a música, então Paul McCartney poderia dar uma cópia para o trio Mortimer dos EUA. Em maio de 1969 McCartney produziu uma versão de banda para a Apple, mas a gravação nunca foi lançada.
April 25
1969-A rough mono mix was created of the Let It Be song Two Of Us during this hour-long late-night session.
The mix was to allow an acetate disc to be cut of the song, so that Paul McCartney could give a copy to the US trio Mortimer. In May 1969 McCartney produced the band's version for Apple, but the recording was never released.
 
Two Of Us
(Lennon/McCartney)
  Two of us riding nowhere
Spending someone's
Hard earned pay
You and me Sunday driving
Not arriving
On our way back home
We're on our way home
We're on our way home
We're going home
Two of us sending postcards
Writing letters
On my wall
You and me burning matches
Lifting latches
On our way back home
We're on our way home
We're on our way home
We're going home
You and I have memories
Longer than the road that stretches out ahead
Two of us wearing raincoats
Standing solo
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home
You and I have memories
Longer than the road that stretches out ahead
Two of us wearing raincoats
Standing solo
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home
We're going home
Better believe it
*Linda:"Paul escreveu "Two OF Us" naqueles dias (sobre se perder). É sobre nós. Nós simplesmente entramos em algum bosque e paramos o carro. Eu fui caminhar enquanto Paul ficou sentado no carro escrevendo. Ele também fala de cartões postais porque costumávamos trocar cartões".
* Linda: "Paul wrote" Two Of Us "in those days (about losing themselves). It's about us. We simply entered some woods and stopped the car. I was walking while Paul sat in his car writing. He also speaks of postcards because we used to exchange business cards. "
The Beatles book by Steve Turner

24 de Abril
1967-Um dia antes de começar a trabalhar na música Magical Mystery Tour, todos  os Beatles foram ver o cantor de  folk, Donovan em Londres. O concerto foi a primeira noite da semana de residência de Donovan no Teatro Saville, um local, em seguida, de propriedade de The Beatles 'manager Brian Epstein.
April 24
1967-The day before beginning work on the Magical Mystery Tour song, The Beatles all went to see the folk singer Donovan performing in London. The concert was the first night of Donovan's week-long residency at the Saville Theatre, a venue then owned by The Beatles' manager Brian Epstein.
Baby, You're A Rich Man
(Lennon/McCartney)
 How does it feel to be
One of the beautiful people? Now that you know who you are What do you want to be? And have you travelled very far? Far as the eye can see. How does it feel to be One of the beautiful people? How often have you been there? Often enough to know. What did you see, when you were there? Nothing that doesn't show. Baby you're a rich man, Baby you're a rich man, Baby you're a rich man too. You keep all your money in a big brown bag inside a zoo. What a thing to do. Baby you're a rich man, Baby you're a rich man, Baby you're a rich man too. How does it feel to be One of the beautiful people? Tuned to a natural E Happy to be that way. Now that you've found another key What are you going to play? Baby you're a rich man, Baby you're a rich man, Baby you're a rich man too. You keep all your money in a big brown bag inside a zoo. What a thing to do. Baby you're a rich man...
Nederland
*O homem rico da parte de Paul supostamente é o empresário Brian Epstein.
* The rich man's supposedly of Paul's part is the manager Brian Epstein.

23 de Abril
1964-Os Beatles havia filmado cenas no aeroporto de Gatwick para seqüência de Can't Buy Me Love do filme A Hard Day's Night no dia 13 de março de 1964. Eram necessárias mais cenas, no entanto, que foram feitas neste dia. As filmagens aconteceram em Thornbury Playing Fields em Isleworth, sul de Londres. Um heliponto falso foi construído, e os Beatles foram filmados correndo e dando voltas por cima. John Lennon, Paul McCartney e George Harrison também foram filmados saltando de uma escada de madeira mantida no lugar por um eletricista em conjunto com o cinegrafista situado ao nível do solo. Um parque infantil foi mais tarde construído no local onde o heliporto foi construído. A sessão terminou às 13:00, mas Lennon teve que sair mais cedo para participar de um almoço literário da Foyle realizada em sua honra.
April 23
1964-The Beatles had filmed scenes at Gatwick Airport for the Can't Buy Me Love sequence of the A Hard Day's Night film on 13 March 1964. More footage was needed, however, which was captured on this day.
Filming took place on Thornbury Playing Fields in Isleworth, south London. A fake helipad was constructed, and The Beatles were filmed running around and acting up. John Lennon, Paul McCartney and George Harrison were also filmed jumping from a wooden ladder held in place by an on-set electrician, with the cameraman situated at ground level.
A children's playground was later built on the spot where the helipad was constructed. The shoot ended at 1pm, but Lennon had to leave early to attend a Foyle's literary luncheon held in his honour.
Anytime At All
(Lennon/McCartney)
 Any time at all, any time at all, any time at all , all

you've gotta do is call and I'll be there.

If you need somebody to love, just look into my eyes, I'll

be there to make you feel right.

If you're feeling sorry and sad, I'd really sympathize.

Don't you be sad, just call me tonight.

Any time at all, any time at all, any time at all , all

you've gotta do is call and I'll be there.

If the sun has faded away, I'll try to make it shine,
there is nothing I won't do
If you need a shoulder to cry on I hope it will be mine.
Call me tonight, and I'll come to you.
Any time at all, any time at all, any time at all , all
you've gotta do is call and I'll be there.
Any time at all, any time at all, any time at all , all
you've gotta do is call and I'll be there.
Any time at all, all you've gotta do is call and I'll be there.
Japan
*John era obviamente o compositor mais prolífico da época, tendo escrito cinco das sete músicas do filme e em via de compor todas as canções do lado B, com exceção de uma.
* John was obviously the most prolific composer of the time, having written five of the seven songs from the movie and in the process of writing all the songs on B-side, with one exception.

The Beatles book by Steve Turner

22 de Abril
1999-Em um leilão realizado em Londres, o órgão Vox que John usou para tocar “I’m Down” no Shea Stadium foi vendido por 19.500 libras. Um terno de Ringo é vendido por 1.300 libras, enquanto seu velho Chevrolet alcança o valor de 4.200 libras.
April 22
1999-In an auction in London, the Vox organ that John used to play "I'm Down" at Shea Stadium was sold for 19,500 pounds. A suit of Ringo is sold for 1,300 pounds, while his old Chevrolet reaches the value of 4,200 pounds.
I'm Down
(Lennon/McCartney)
You tell lies thinking I can't see
You can't cry 'cos you're laughing at me
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.

Man buys ring woman throws it away
Same old thing happens everyday
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.
OW!
We're all alone and there nobody else
You still moan: "Keep your hands to yourself!"
I'm down (I'm really down)
Oh, babe, I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.

Wow! Hurry up John!

Oh babe, you know I'm down (I'm really down)
I guess I'm down (I'm really down)
I'm down on the ground (I'm really down)
Whoa! Down! (I'm really down)
Oh, babe, I'm upside down
Oh yeh, yeh, yeh, yeh, yeh, I'm down (I'm really down)
Oh, baby I'm down (I'm really down)
I'm feelin' upside down (I'm really down)
Ooh, I'm down (I'm really down)
Oh, baby I'm down, yeh
Oh, baby, I'm down, yeh!
Baby, I'm down (I'm really down)
Oh, baby I'm down (I'm really down)
Oh, baby, baby, baby! (I'm really down)
Oh, baby I'm down (I'm really down)
I'm down, down, down, down, down, down, down, down, down, yeh whoa!
*"I'm Down" é uma tentativa descarada de Paul de escrever uma canção à Little Ricard para substituir "Long Tall Sally" no repertório dos Beatles.
* "I'm Down" is a shameless  attempt by Paul to write a song  like  Little Ricard's to replace "Long Tall Sally" in the repertoire of The Beatles.
  

21 de Abril
1965-1965-Neste dia viu a conclusão da cena de Help! em que os Beatles visitaram o escritório do superintendente de polícia da Scotland Yard, Gluck. Foi filmado em Twickenham Film Studios, na Inglaterra.
April 21
  1965-This day saw the completion of the scene in Help! in which The Beatles visited the Scotland Yard office of police superintendent Gluck. It was filmed at Twickenham Film Studios in England.
You Like me Too Much
(Harrison) 
Though you've gone away this morning,
You'll be back again tonight,
Telling me there'll be no next time
If I don't just don't treat you right,
You'll never leave me and you know it's true,
'cause you like me too much and I like you.

You've tried before to leave me, 
But you haven't got the nerve
To walk out and make me lonely
Which is all that I deserve,

You'll never leave me and you know it's true,
'cause you like me too much and I like you.
I really do, and it's nice when you believe me,
If you leave me 

I will follow you 
And bring you back where you belong
'cause I could't really stand it,
I admit that I was wrong,
I wouldn't let you leave me 'cause it's true,
'cause you like me too much and I like you.

'cause you like me too much and I like you.
I really do, and it's nice when you believe me,
If you leave me 

I will follow you 
and bring you back where you belong
'cause I couldn't really stand it,
I admit that I was wrong,

I wouldn't let you leave me 'cause it's true,
'cause you like me too much and I like you,
'cause you like me too much and I like you.

*"You Like me Too Much" foi escrita por George para a trilha sonora antes que a filmagem de help! começassem. Acabou sendo relegada ao lado B do álbum.
* "You Like Me Too Much" was written by George to the soundtrack before filming Help! began. It ended up being relegated to the B side of the album.
The Beatles book by Steve Turner

20 de Abril
1966-Uma sessão de 12 horas aconteceu neste dia, durante o qual os Beatles trabalharam em duas canções para o Revolver, embora as gravações de ambas fosse posteriormente descartada. O trabalho começou às 2:30 da tarde, e terminou às 2h30 da manhã seguinte.
A primeira música a ser abordada foi a de John Lennon And Your Bird Can Sing.Os Beatles gravaram dois takes da faixa de apoio, o que era notável para um ritmo descordante da parte de guitarra inspirada por The Byrds. Este foi gravado em uma Rickenbacker de 12 cordas, acompanhada de outro guitarra elétrica de Lennon, e bateria de Ringo Starr, todos gravados em uma fita de quatro takes.
Lennon overdubbed o vocal principal no track dois do segundo take, enquanto Paul McCartney acrescentou uma parte de baixo e Starr tocou um tamborim. O track três contou com uma segunda parte vocal de Lennon, com harmonias de McCartney e George Harrison, e um solo de guitarra.
No track quatro outro lead vocal de Lennon / McCartney foi adicionado, mas este proveniente de risadas e assobios. Apesar de passar várias horas trabalhando sobre a canção, foi refeita em 26 de abril de 1966; esta versão foi lançada em 1996 no álbum Anthology 2.
Os Beatles, em seguida, voltaram sua atenção para Taxman de Harrison. Eles gravaram quatro takes da canção, só dois dos quais estavam completos, mas novamente foi regravada em uma data posterior.
A sessão terminou com a criação de cinco mixes mono de And Your Bird Can Sing, todas do take dois.
April 20
1966-A 12-hour session took place on this day, during which The Beatles worked on two songs for Revolver, although the recordings of both were later scrapped. Work began at 2.30 in the afternoon, and finished at 2.30am the following morning.
The first song to be tackled was John Lennon's And Your Bird Can Sing. The Beatles recorded two takes of the backing track, which was notable for a jangle rhythm guitar part inspired by The Byrds. This was recorded on a Rickenbacker 12-string, accompanied by another electric guitar by Lennon, and drums by Ringo Starr, all recorded on track one of the four-track tape.
Lennon overdubbed a lead vocal onto track two of the second take while Paul McCartney added a bass part and Starr played a tambourine. Track three featured a second vocal part by Lennon, with harmonies from McCartney and George Harrison, and a lead guitar solo.
Onto the fourth track another Lennon/McCartney lead vocal was added, but this descended into laughter and whistling. Despite spending several hours working on the song, it was remade on 26 April 1966; this version was released on the 1996 album Anthology 2.
The Beatles then turned their attention to Harrison's Taxman. They recorded four takes of the song, only two of which were complete, but again it was re-recorded at a later date.
The session ended with the creation of five mono mixes of And Your Bird Can Sing, all from take two.
And Your Bird Can Sing
(Lennon/McCartney)
You tell me that you've got everything you want
And your bird can sing
But you don't get me, you don't get me

You say you've seen seven wonders and your bird is green
But you can't see me, you can't see me

When your prized possessions start to weigh you down
Look in my direction, I'll be round, I'll be round
When your bird is broken will it bring you down You may be awoken, I'll be round, I'll be round

You tell me that you've heard every sound there is 
And your bird can swing
But you can't hear me, you can't hear me.
*John menosprezou essa música dizendo que era "um horror" (1971) e "uma canção descartável" (1980), mas é difícil entender a causa dessa insatisfação.A letra era uma das mais enigmáticas e provavelmente uma observação sarcástica sobre Paul disfarçada com tinturas poéticas.
* John despised this song saying it was "a horror" (1971) and "a song disposable" (1980), but it is difficult to understand the cause of this dissatisfaction. A letter was one of the most enigmatic and probably a sarcastic remark about Paul disguised with poetic dyes.
The Beatles book by Steve Turner

19 de Abril
1964-O especial de televisão Around The Beatles, que foi filmado em 28 de abril de 1964, incluiu apresentações musicais. No entanto, a música usada não eram gravações da EMI, uma nova trilha sonora foi gravada neste e no dia anterior no Independent IBC (International Broadcasting Company) Studios, em 35 Portland Place, em Londres.
A sessão aconteceu entre 10:00 até 20:30. Não havia nenhum produtor, mas o empresário do IBC, Alan Stagg estava presente, assim como o pessoal de apoio técnico.
Os Beatles passaram o dia todo no estúdio, gravando suas partes, juntamente com outras apresentações do show. Backing tracks foram gravadas na parte da manhã, seguido de vocais no período da tarde, e à noite foram convidados uma série de garotas  foram chamadas para ouvir o playback e seus gritos foram gravados.
O estúdio usou uma máquina Ampex 3-track, com o back da música gravada em uma faixa, os vocais em outro, e os gritos e aplausos em um terçceiro.
Os Beatles gravaram as músicas  Twist And Shout, Roll Over Beethoven, I Wanna Be Your Man, Long Tall Sally, Boys and Can't Buy Me Love, e um medley de seus hits até à data: Love Me Do / Please Please Me From Me To You / She Loves You / I Want To Hold Your Hand. Eles também gravaram uma versão da canção do Isley Brothers  de 1959 Shout, que contou com os vocais de cada um dos Beatles.
April 19
1964-The television special Around The Beatles, which was filmed on 28 April 1964, included mimed musical performances. However, the music used wasn't the EMI recordings; a new soundtrack was recorded on this and the previous day at the independent IBC (International Broadcasting Company) Studios, at 35 Portland Place in central London.
The session took place from 10am until 8.30pm. There was no producer, but IBC’s manager Alan Stagg was present, as were technical support staff.
The Beatles spent all day in the studio, recording their parts along with the show's other acts. Backing tracks were taped in the morning, followed by vocals in the afternoon, and in the evening a number of girls were invited to listen to a playback and their screams were recorded.
The studio used a 3-track Ampex machine, with the backing music recorded on one track, vocals on another, and screams and applause on a third.
The Beatles taped the songs Twist And Shout, Roll Over Beethoven, I Wanna Be Your Man, Long Tall Sally, Boys and Can't Buy Me Love, and a medley of their hits to date: Love Me Do/Please Please MeFrom Me To You/She Loves You/I Want To Hold Your Hand. They also recorded a version of the Isley Brothers' 1959 song Shout, which featured lead vocals from each of The Beatles.
Shout!
(Isley, Isley, Isley)
You know you make me want to:
Shout!

Take my finger!
Shout!

Throw my hands back!
Shout!

Kick my heels up!
Shout!

Come on now.
Shout!

Take it easy
Shout!
Take it easy
Shout!
Take it easy
Shout!

A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!
A little bit softer now.
Shout!

A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!
A little bit louder now.
Shout!

Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!
Hey hey hey hey!

Shout!
Jump up and shout now!
Shout!
Jump up and shout now!
Shout!
Jump up and shout now!
Shout!

Blo
*A arrasadora música de 1959, que os beatles tinham em seu repertório inicial, foi popularizada na inglaterra pelo compacto de Lulu, de 1964.
* The overwhelming music  of 1959, that the Beatles had in their initial repertoire, was popularized in England by compact Lulu, 1964.
The Beatles:Albuns, Files & complete discography by Jeff Russel 

18 de Abril
1969 - Os Beatles terminaram a gravação de Old Brown Shoe canção de George Harrison neste dia, e continuaram a trabalhar na canção Abbey Road I Want You (She's so heavy).
Harrison trabalhou sozinho na música, gravando um solo de guitarra no track sete. O instrumento foi alimentado através de um alto-falante Leslie. Ele então apagou a guitarra rítmica de John Lennon fazendo um overdubbing de órgão Hammond.
A sessão de gravação foi surpreendentemente longa, com duração entre 14.30-22:30 no Estúdio Três. Harrison e o produtor Chris Thomas, em seguida, mixaram Old Brown Shoe em estéreo em 19 tententativas, que foram numeradas de 5-23, na sala de controle do estúdio. Eles completaram o trabalho a 1:00 da manhã.
O estúdio dois também havia sido reservado para o trabalho em I Want You (She's So Heavy). Harrison, Lennon, Thomas, o engenheiro Jeff Jarratt e o operador John Kurlander estavam presentes para fazer o overdubbing de guitarras, em uma sessão mais tarde com duração entre 1.0-04h30 da manhã.
Os Beatles começaram a gravar a canção em 22 de fevereiro de 1969, e uma fita master foi montada a partir de três diferentes takes no dia seguinte.
Nesta manhã eles acrescentaram vários overdubs de guitarra não numerados, para fazer a parte crescente da música. Uma mix de redução foi então feito para permitir mais trabalho numa data posterior.
April 18 
1969- The Beatles finished the recording of George Harrison's song Old Brown Shoe on this day, and continued work on the Abbey Road song I Want You (She's So Heavy).
Harrison worked alone on the song, recording a guitar solo onto track seven. The instrument was fed through a Leslie speaker. He then erased John Lennon's rhythm guitar by overdubbing a Hammond organ part.
The recording session was surprisingly lengthy, lasting from 2.30-10.30pm in Studio Three. Harrison and producer Chris Thomas then mixed Old Brown Shoe in stereo in 19 attempts, which were numbered 5-23, in the studio control room. They completed the work at 1am.
Studio Two had also been booked for work on I Want You (She's So Heavy). Harrison, Lennon, Thomas, balance engineer Jeff Jarratt and tape operator John Kurlander were present for the overdubbing of guitars, in a late session lasting from 1-4.30am.
The Beatles had begun recording the song on 22 February 1969, and a master tape was assembled from three different takes on the following day.
On this early morning they added several unnumbered guitar overdubs, to build up the song's crescendo. A reduction mix was then made to allow more work at a later date.
 
 I Want You (She's So Heavy)
(Lennon/McCartney)
I want you
I want you so bad
I want you,
I want you so bad
It’s driving me mad, it’s driving me mad.
I want you
I want you so bad babe
I want you,
I want you so bad
It’s driving me mad, it’s driving me mad.
I want you
I want you so bad babe
I want you,
I want you so bad
It’s driving me mad, it’s driving me mad.
I want you
I want you so bad
I want you,
I want you so bad
It’s driving me mad, it’s driving me ...
She’s so heavy heavy, heavy, heavy.
She's so heavy
She's so heavy, heavy, heavy
I want you
I want you so bad
I want you,
I want you so bad
It’s driving me mad, it’s driving me mad.
I want you
You know I want you so bad babe
I want you,
You know I want you so bad
It’s driving me mad, it’s driving me mad
Yeh!
She’s so...
Mexico
*"I Want You (She's So Heavy)" foi escrita como uma canção de amor para Yoko. John admitiu a influência que ela teve em seu novo estilo de compor e disse que pretendia um dia escrever a canção perfeita com apenas uma palavra. Um poema de Yoko de 1964 consistia apenas na palavra "water". A música foi citada pela BBc 24Hours como um exemplo das banalidades da música pop, o que enfureceu John.
* "I Want You (She's So Heavy)" was written as a love song to Yoko. John admitted that she had  influence in his new style of writing and said he intended  to write one day the perfect song with only one word. A poem by Yoko in 1964 was only the word "water". The music was cited by the BBC 24Hours as an example of the banalities of pop music, which infuriated John. 
The Beatles book by Steve Turner

17 de Abril
1966-A terceira música de Revolver escrita sobre o consumo de drogas, na sequência de Tomorrow Never Knows e Got To Get You Into My Life, o track de fundo para Doctor Robert foi gravado neste dia.
A sessão começou às 14:30 e terminou às 22:30. Os Beatles gravaram a música em sete takes, com John Lennon na guitarra base, Paul McCartney tocando um baixo Rickenbacker, George Harrison nas maracas e Ringo Starr tocando tambores.
Harrison, em seguida, sobrepõe uma parte guitarra líder, e Lennon acrescentou harmonia. Todos os instrumentos para Doctor Robert foram gravados neste dia; vocais foram adicionados e mixagens em mono foram feitas dois dias depois, em 19 de abril de 1966.
April 17
1966-The third song for Revolver written about drug-taking, following Tomorrow Never Knows and Got To Get You Into My Life, the backing track for Doctor Robert was recorded on this day.
The session began at 2.30pm and ended at 10.30pm. The Beatles recorded the song in seven takes, with John Lennon on rhythm guitar, Paul McCartney playing a Rickenbacker bass, George Harrison on maracas and Ringo Starr playing drums.
Harrison then overdubbed a lead guitar part, and Lennon added harmonium. All the instruments for Doctor Robert were recorded on this day; vocals were added and mono mixes were made two days later, on 19 April 1966.
 
Doctor Robert
(Lennon/McCartney)
Ring my friend, I said you call Doctor Robert
Day or night he'll be there any time at all, Doctor Robert
Doctor Robert, you're a new and better man,
He helps you to understand
He does everything he can, Doctor Robert
If you're down he'll pick you up, Doctor Robert
Take a drink from his special cup, Doctor Robert
Doctor Robert, he's a man you must believe,
Helping everyone in need
No one can succeed like Doctor Robert
Well, well, well, you're feeling fine
Well, well, well, he'll make you ... Doctor Robert
My friend works for the national health, Doctor Robert
Don't pay money just to see yourself with Doctor Robert
Doctor Robert, you're a new and better man,
He helps you to understand
He does everything he can, Doctor Robert
Well, well, well, you're feeling fine
Well, well, well, he'll make you ... Doctor Robert
Ring my friend, I said you call Doctor Robert
Ring my friend, I said you call Doctor Robert
Doctor Robert
*A música era uma brincadeira em torno desse sujeito,possivelmente Dr Robert Freymann, que curava todo mundo com remédios e tranquilizantes. Ele simplesmente mantinha Nova York chapada...John que escreveu "Doctor Robert" estava entre os 100 famosos atendido por ele, segundo a filha de Freymann.
* The song was a joke around this guy, possibly Dr Robert Freymann, who healed everyone with drugs and tranquilizers. He just kept New York drugged... John who wrote "Doctor Robert" was among the 100 famous attended by him, according the Freymann's daughter.
The Beatles book by Steve Turner

16 de Abril
1969-John Lennon e Paul McCartney haviam gravado  The Ballad Of John And Yoko em 14 de abril de 1969. Dois dias depois, todos os quatro membros dos Beatles reuniram-se em Abbey Road para gravar seu lado-b,  a canção de George Harrison Old Brown Shoe.
Havia duas sessões separadas neste dia. Das 2.30-17:00 Harrison gravou um demo solo de Old Brown Shoe em um único take.
Ele já tinha um demo da canção, de 25 de fevereiro de 1969. Neste dia, porém, sua demo foi gravada mais uma vez quando a sessão começou às 19:00. É provável que Harrison tenha tocado a gravação a eles para referência antes do trabalho começar.
Esta foi a primeira sessão de gravação dos Beatles na Abbey Road com os quatro membros desde 8 de outubro de 1968, mais de seis meses antes. Eles gravaram a música de fundo para Old Brown Shoe em apenas quatro tomadas.
O track um continha a bateria Ringo Starr, enquanto o segundo e terceiro destaca vocais de Harrison e guitarra. Piano, Paul McCartney foi gravado em quatro faixas, e John Lennon acrescentou guitarra ritmo para o track oito.
Lennon e McCartney, em seguida, sobrepuseram backing vocals para o track cinco. Guitarra elétrica e partes de baixo foram adicionados por McCartney e Harrison no seis, ambos os instrumentos dobrando os mesmos riffs. Vocais de Harrison foram últimos a ser adicionados, ao track oito, para isso ele se posicionou em um canto do estúdio para dar um som intimista.
April 16
1969-John Lennon and Paul McCartney had recorded The Ballad Of John And Yoko on 14 April 1969. Two days later all four members of The Beatles met at Abbey Road to record its b-side, George Harrison's song Old Brown Shoe.
There were two separate sessions on this day. From 2.30-5pm Harrison recorded a solo demo of Old Brown Shoe in a single take.
He had previously demoed the song on 25 February 1969. On this day, however, his demo was recorded over once The Beatles' session began at 7pm. It is likely that Harrison played the recording to them for reference before work began.
This was the first Beatles recording session at Abbey Road to feature all four members since 8 October 1968, more than six months previously. They recorded the backing track for Old Brown Shoe in just four takes.
Track one contained Ringo Starr's drums, while the second and third featured Harrison's guide vocals and lead guitar. Paul McCartney's piano was recorded onto track four, and John Lennon added rhythm guitar onto track eight.
Lennon and McCartney then overdubbed backing vocals onto track five. Electric guitar and bass parts were added by McCartney and Harrison on six, both instruments doubling up the same riffs. Harrison's lead vocals were the last to be added, onto track eight, for which he positioned himself in a corner of the studio to give an intimate sound.
 
  Old Brown Shoe
(Harrison)
I want a love that's right
Right is only half of what's wrong.
I want a short-haired girl
Who sometimes wears it twice as long
Now I'm steppin' out this old brown shoe.
Baby I'm in love with you!
So glad you came here, it won't be the same now,
I'm telling you.
You know you picked me up
From where some try to drag me down.
And when I see your smile,
Replacing ev'ry thoughtless frown.
Got me escaping from this zoo
Baby, I'm in love with you!
I'm so glad you came here, it won't be the same
Now I'm with you.
If I'll grow up I'll be a singer.
Wear rings on ev'ry finger.
Not worrying about what they or you'll say
I'll live and love, and maybe someday, who knows baby
You may comfort me (yeah)!!
I may appear to be imperfect
But my love is something you can't reject
Changing faster than the weather
You and me should get together, who knows baby
You may comfort me
I want the love of yours
To miss that love is something I'd hate
I'll make an early start
I'm making sure that I'm not late
For your sweet top lip I'm in the queue
Baby I'm in love with you
I'm so glad you came here, it won't be the same
Now I'm with you
So glad you came here
It won't be the same now I'm with you!
Oh yeah yeah
(Good as... good as new)
 
Mexico
*As origens da letra estão na visão religiosa de George de que precisamos nos libertar da realidade do mundo material porque ela é ilusória. Uma vez absorvidos pela consciência divina, não há certo versus errado, corpo versus alma, espírito versus matéria.
* The origins of the letter are the religious views of George that we need to free ourselves from the reality of the material world because it is illusory. Once absorbed into the divine consciousness, no right versus wrong, body versus soul, spirit versus matter.
The Beatles book by Steve Turner

15 de Abril
 1963-Essa foi única performance dos Beatles na pequena cidade de Tenbury Wells, Worcestershire. O concerto aconteceu no Riverside Dancing Club no Bridge Hotel.
Para um grupo claramente à beira do sucesso, os Beatles não teriam tocado em um local e cidade tão pequenos, mas pelo compromisso de Brian Epstein em honrar todas as reservas que tinha feito. O grupo frequentemente se ressentia ter que tocar em locais pequenos, mas tais aparições ajudaram a se conectar com seu público neste momento crucial.

April 15
1963-This was The Beatles only performance in the small market town of Tenbury Wells, Worcestershire. The concert took place at the Riverside Dancing Club in the Bridge Hotel.
For a group clearly on the cusp of success, The Beatles wouldn't have performed in such a small venue and town, but for Brian Epstein's commitment to honour all bookings they had made. The group often resented having to perform at small venues, but such appearances helped them connect with their audiences at this crucial time.
Bad To Me
(Lennon/McCartney)
If you ever leave me, I'll be sad and blue 
Don't you ever leave me, I'm so in love with you 
The birds in the sky would be sad and lonely, 
If they knew that I lost my one and only,
They'd be sad if you're bad to me 
The leaves on the trees would be softly sighin' 
If they heard from the breeze that you left me cryin',
They'd be sad, don't be bad to me 
But I know you won't leave me 'cos you told me so, 
And I've no intention of letting you go, 
Just as long as you let me know, you won't be bad to me 
So the birds in the sky won't be sad and lonely, 
'Cos they know that I got my one and only 
They'd be glad that you're not bad to me 
They'd be glad that you're not bad to me, to me, to me.
 *Foi gravado por Billy J Kramer com The Dakotas, Julho1963
*Single by Billy J Kramer with the Dakotas, July 1963

14 de Abril
1966-Os Beatles começaram a gravar seu próximo single Paperback Writer, no dia anterior. Foi concluída durante esta sessão, como se fosse a música de fundo do lado b,  Rain.
April 14
1966 -The Beatles had begun recording their next single, Paperback Writer, on the previous day. It was completed during this session, as was the backing track of its b-side, Rain.
Rain
(Lennon/McCartney)
If the rain comes they run and hide their heads.
They might as well be dead.
If the rain comes, if the rain comes.
When the sun shines they slip into the shade
(When the sun shines down.)
And sip their lemonade.
(When the sun shines down.)
When the sun shines, when the sun shines.
Rain, I don't mind.
Shine, the world looks fine.
I can show you that when it starts to rain,
(When the Rain comes down.)
Everything's the same.
(When the Rain comes down.)
I can show you, I can show you.
Rain, I don't mind.
Shine, the world looks fine.
Can you hear me, that when it rains and shines,
(When it Rains and shines.)
It's just a state of mind?
(When it rains and shines.)
Can you hear me, can you hear me?
If the rain comes they run and hide their heads.
sdaeh rieht edih dna nur yeht semoc niar eht fI.
(Rain)
niaR.
(Rain)
enihsnuS.
UK
*Rain, foi o primeiro lançamento dos Beatles a sugerir estados alterados de consciência, não só na letra, mas também na música. O vocal arrastado, os instrumentos mais lentos e a fita tocada ao contrário no final eram sinais do que estaria por vir. 
* Rain, was the first release of the Beatles suggesting altered states of consciousness, not only in lyrics but also in music. The vocal dragged, instruments slower and tape played in reverse at the end were signs of what was to come.
The Beatles book by Steve Turner

13 de Abril
1962-Esta data foi a primeira dos Beatles em Hamburgo Star-Club, o mais novo local de rock da cidade.
O grupo passou as sete semanas seguintes tocando no local, cavocando 172 horas de estágio, durante 48 noites. Eles terminaram a temporada em 31 de maio de 1962, e deixaram Hamburgo, no sábado 02 de junho.
Foi a terceira estadia dos Beatles em Hamburgo em dois anos, mas não seria a última, eles voltaram mais duas vezes ao Star Club antes do fim de 1962.
April 13
1962-This date was The Beatles' first at Hamburg's Star-Club, the city's newest rock 'n' roll venue.
The group spent the following seven weeks performing at the venue, notching up 172 hours of stage time over 48 nights. They finished their stint on 31 May 1962, and left Hamburg on Saturday 2 June.
It was The Beatles' third residency in Hamburg within two years, but wouldn't be their last; they returned two more times to the Star-Club before the end of 1962.
To Know Him Is to Love Her
(Spector)
To know know know her
Is to love love love her
Just to see her smile
Makes my life worthwhile
To know know know her
Is to love love love her
And I do

I'll be good to her
I'll bring love to her
Everyone says there'll come a day
When I'll walk alongside of her
Yes just to know her
Is to love love love her
And I do

Why can't he see
How blind can he be
Someday he will see
That he was meant for me
Oh

To know know know her
Is to love love love her
Just to see her smile
Makes my life worthwhile
To know know know her
Is to love love love her
And I do
 
*Os Beatles se mantém fiéis ao arranjo de Spector, mas mudam o título e a letra de um ponto de vista feminino para um masculino. Mais uma vez o solo vocal é de John, com Paul e George responsáveis pelo "da,da, da" de fundo. Os Beatles costumavam incluir  esta canção em suas primeiras apresentações e The Star Club Tapes traz uma versão ao vivo dela.
* The Beatles hold to the arrangement  of Spector, but change the title and lyrics of a feminine point of view for a male. Again John  is the vocal  solo, with George and Paul responsible for "da, da,da" backvocal. The Beatles used to include this song in their first performances and The Star Club Tapes brings a live version of it.
The Beatles:Albuns, Files & complete discography by Jeff Russel 

12 de Abril
1964-Uma semana depois de filmar as sequências de perseguição para as cenas de abertura de A Hard Day, os Beatles voltaram a Marylebone Station, em Londres, para completar as cenas.
Desta vez não havia fãs presentes, e a estação foi fechada ao público domingo. Os Beatles foram filmados em uma série de locais na estação, incluindo a corrida por uma plataforma para pegar o trem em movimento.
 April 12
1964-A week after filming chase sequences for the opening scenes of A Hard Day's Night, The Beatles returned to Marylebone Station in London to complete the scenes.
This time there were no fans present, and the station was closed to the public on Sundays. The Beatles were filmed in a number of locations in the station, including running down the length of a platform to catch a moving train.
 
I Should Have Known Better
(Lennon/McCartney)
I should have known better with a girl like you
That I would love everything that you do
And I do, hey, hey, hey, and I do.
Whoa, whoa, I never realized what a kiss could be
This could only happen to me; 
Can't you see, can't you see?
That when I tell you that I love you, oh,
You're gonna say you love me too, hoo, hoo, hoo, hoo, oh,
And when I ask you to be mine, 
You're gonna say you love me too. 
So, I should have realized a lot of things before
If this is love you've gotta give me more
Give me more, hey hey hey, give me more
Whoa, whoa, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see?
That when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine,
You're gonna say you love me too,
You love me too
You love me too
You love me too.
USA
*Surpreendentemente para uma música de John ela é bastante otimista, um rapaz que ama uma garota, uma garota que ama um rapaz, e está tudo bem.
* Surprisingly for a  John's song, it's very optimist, a guy who loves a girl, a girl who loves a boy, and all is well.
The Beatles book by Steve Turner

11 de Abril
1961-Esta foi a 11 ª noite da maior estadia dos Beatles em Hamburgo, durante o qual eles tocaram um total de 92 noites no Clube Top Ten.
O clube era de propriedade de Peter Eckhorn, que pagou a cada um dos Beatles 35DM (R $ 3) por dia. Eles foram obrigados a tocar a partir de 19:00 até 2:00 cada dia da semana, e até três horas nos fins de semana, com um intervalo de 15 minutos a cada hora.
As apresentações no Top Ten foram tão bem sucedidas que Eckhorn prorrogou por duas vezes o contrato dos Beatles. Eles finalmente deixaram a Alemanha após o seu último show no clube em 1 de Julho de 1961, tendo tocado no palco 503 horas, durante sua estadia.
April 11
1961-This was the 11th night of The Beatles' lengthiest residency in Hamburg, during which they played a total of 92 nights at the Top Ten Club.
The club was owned by Peter Eckhorn, who paid each of The Beatles 35DM (£3) per day. They were required to play from 7pm until 2am each weekday, and until 3am on weekends, with a 15-minute break in each hour.
The performances at the Top Ten were so successful that Eckhorn twice extended The Beatles' contract. They eventually left Germany following their final show at the club on 1 July 1961, having performed on stage for 503 hours during their stay.
Just Because
(Shelton/Shelton/Robin)
Well, well, well, 
Just because you think you're so pretty,
And just because your momma thinks you're hot,
Well, just because you think you've got something
That no other girl has got,
You've caused me to spend all my money.
You laughed and called me old Santa Claus.
Well, I'm telling you,
Baby, I'm through with you.
Because, well well, just because.

Well, well, well,
There'll come a time when you'll be lonesome
And there'll come a time when you'll be blue.
Well, there'll come a time when old Santa
He won't pay your bills for you.

You've caused me to lose all my women
And now, now you say we are through.
Well, I'm telling you 
Baby, I was through with you
A long long time ago.

Well, just because you think you're so pretty
And just because your mama thinks you're the hottest thing in
town
Well, just because you think you've got something
That nobody else has got,
You've caused me to spend all of my money.
Honey, you laughed and called me your old Santa Claus.
Well, I'm telling you I'm through with you
Because, well well, just because.

10 de Abril
1964-O follow up para Meet The Beatles! foi emitido neste dia pelo rótulo Capitol dos EUA. O Beatles 'Second Album seria realmente o terceiro long play nos Estados Unidos, se o  Introducing The Beatles, lançado pela Vee-Jay em janeiro de 1964, estivesse incluído.
O álbum continha músicas de quatro diferentes lançamentos do Reino Unido: With The Beatles, Thank You Girl  do single From Me To You, ambos os lados de She Loves You/I'll Get You, e You Can't Do That do single Can't Buy Me Love. Duas novas músicas, Long Tall Sally  e  I Call Your Name, também foram incluídos.
The Beatles 'Second Album chegou ao topo das paradas norte-americanas, substituindo Meet The Beatles;! Esta foi a primeira vez que um artista substituiu-se no ponto número um na América.
April 10
1964-The follow-up to Meet The Beatles! was issued on this day by the group's US label Capitol.
The Beatles' Second Album was actually their third long player in the United States, if the Introducing The Beatles, released by Vee-Jay in January 1964, is included.
The album contained songs from four different UK releases: With The Beatles, Thank You Girl from the From Me To You single, both sides of She Loves You/I'll Get You, and You Can't Do That from the Can't Buy Me Love single. Two new songs, Long Tall Sally and I Call Your Name, were also included.
The Beatles' Second Album topped the US album charts, replacing Meet The Beatles!; this was the first time an artist replaced itself at the number one spot in America.
 Roll Over Beethoven
(Berry)
 Well gonna write a little letter
Gonna mail it to my local D.J.
It's a rockin' little record 
I want my jockey to play
Roll over Beethoven 
Gotta hear it again today
You know my temperature's risin'
And the jukebox blows a fuse
A heart beatin' rhythm 
And my soul keeps singing the blues
Roll over Beethoven 
And tell Tchaikovsky the news
I got a rockin' pneumonia
I need a shot of rhythm and blues, whoo!
I think I got it off the writer
Sittin' down by the rhythm reviews
Roll over Beethoven
Rockin' in two by two
Well if you feel it and like it
Well get your lover and reel and rock it
Roll it over and move on up
Just trifle further and reel and rock it
Roll it over
Roll over Beethoven
Rockin' in two by two, whoo!
Well early in the mornin'
I'm a givin' you the warnin'
Don't you step on my blue suede shoes
Hey diddle diddle
I'll play my fiddle
Ain't got nothing to lose
Roll over Beethoven
And tell Tchaikovsky the news
You know she wiggles like a glow worm
Dance like a spinnin' top
She's got a crazy partner
Oughta see him reel and rock
As long as she got a dime
The music will never stop
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Dig to these rhythm and blues.
* Com a guitarra base de John dando pulso forte da gravação, George assume o vocal (gravado em duas pistas) nesta versão do clássico de Chuck Berry. Os Beatles tocavam esta música com frequência nas primeiras apresentações no Cavern e no Star Club, e sempre recebiam muitos pedidos para executá-la. Uma antiga gravação ao vivo pode ser ouvida em The Star Club Tapes.
* With the rhythm guitar of John giving strong pulse of the recording, George assumes the vocal (recorded on two tracks) in this version of the Chuck Berry's classic. The Beatles played this song often in the first performances at the Cavern and the Star Club, and always received many requests to play it. An old live recording can be heard at The Star Club Tapes.
The Beatles:Albuns, Files & complete discography by Jeff Russel 

9 de Abril
1965-A primeira música liberada para o público dos Beatles para o próximo álbum Help! foi o single de Ticket To Ride, lançado como Parlophone R 5265.
O lado-B foi Yes It Is, a tentativa de John Lennon para reescrever sua This Boy.
O single entrou nas paradas do Reino Unido em 15 de Abril. Na semana seguinte, alcançou o número um, onde permaneceu por três semanas. Ao todo passou 12 semanas na parada de sucessos.
Ticket To Ride foi lançado em 19 de abril de 1965 nos Estados Unidos.
April 9
1965-The first song released to the public from The Beatles' forthcoming Help! album was the Ticket To Ride single, released as Parlophone R 5265.
The b-side was Yes It Is, John Lennon's attempt to rewrite his earlier This Boy.
The single entered the UK charts on 15 April. The following week reached number one, where it remained for three weeks. In all it spent 12 weeks in the hit parade.
Ticket To Ride was released on 19 April 1965 in the United States.
 
Ticket To Ride
(Lennnon/McCartney)
I think I'm gonna be sad,
I think it's today, yeah.
The girl that's driving me mad
Is going away.
She's got a ticket to ri-hide,
She's got a ticket to ri-hi-hide,
She's got a ticket to ride,
But she don't care.
She said that living with me
Was bringing her down yeah.
She would never be free
When I was around.
She's got a ticket to ri-hide,
She's got a ticket to ri-hi-hide,
She's got a ticket to ride,
But she don't care.
I don't know why she ridin' so high,
She ought to think twice,
She ought to do right by me.
Before she gets to saying goodbye,
She ought to think twice,
She ought to do right by me.
I think I'm gonna be sad,
I think it's today yeah.
The girl that's driving me mad
Is going away, yeah.
Ah, she's got a ticket to ri-hide,
She's got a ticket to ri-hi-hide,
She's got a ticket to ride,
But she don't care.
I don't know why she ridin' so high,
She ought to think twice,
She ought to do right by me.
Before she gets to saying goodbye,
She ought to think twice,
She ought to do right by me.
She said that living with me,
Was bringing her down, yeah.
She would never be free
When I was around.
Ah, she's got a ticket to ri-hide,
She's got a ticket to ri-hi-hide,
She's got a ticket to ride,
But she don't care.
My baby don't care, my baby don't care.
My baby don't care, 
My baby don't care, my baby don't care.
Belgium
*"Ticket to Ride" foi escrita por John e Paul como um single e descrita por John como "uma das primeiras gravações de heavy metal já feitas". Embora suas asas tenham sido cortadas por "You Really Got Me", do Kinks, na disputa, foi a primeira faixa dos Beatles a ter um riff insistente e alongado sustentado por uma forte bateria e a trazer um fade-out com uma melodia alterada.
* "Ticket to Ride" was written by John and Paul as a single and described by John as "one of the first heavy metal recordings ever made." Although his wings have been cut by "You Really Got Me", the Kinks, in the race, was the first track of the Beatles to have a persistent and elongated riff backed by a strong battery and bring a fade-out with a melody changed.
The Beatles book by Steve Turner

8 de Abril
1963-John Charles Julian Lennon, filho de John e Cynthia Lennon, nasceu cedo neste dia no Sefton General Hospital de Liverpool.
April 8
1963-John Charles Julian Lennon, son to John and Cynthia Lennon, was born early on this day at Liverpool's Sefton General Hospital.


Real Love
(Lennon)
All my little plans and schemes
Lost like some forgotten dreams
Seems that all I really was doing
Was waiting for you
Just like little girls and boys
Playing with their little toys
Seems like all they really were doing
Was waiting for love
Don't need to be alone
No need to be alone
It's real love, it's real
Yes it's real love, it's real
From this moment on I know
Exactly where my life will go
Seems that all I really was doing
Was waiting for love
Don't need to be afraid
No need to be afraid
It's real love, it's real
Yes it's real love, it's real
Thought I'd been in love before
But in my heart I wanted more
Seems like all I really was doing
Was waiting for you
Don't need to be alone
No need to be alone
It's real love, it's real
Yes it's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real
It's real love, it's real
Yes it's real love, it's real.
*"Real Love" era uma canção em que John já trabalhara por pelo menos dois anos e, apesar de poucos saberem, uma versão dela foi usada em 1988 na trilha sonora do documentário Imagine, de Andrew Solt.
* "Real Love" was a song that John worked for at least two years and, although few know, a version of it was used in 1988 on the soundtrack of the documentary Imagine, of Andrew Solt.

7 de Abril
1966-O segundo dia de gravação do álbum dos Beatles Revolver viu a continuação do trabalho em Tomorrow Never Knows, e um nova versão de “Got To Get You Into My Life” (takes 1-5).Durante a segunda sessão do dia os Beatles começaram a trabalhar em Got To Get You Into My Life. Eles gravaram cinco takes, o último dos quais foi lançado em 1996 no Anthology 2. A gravação contou com harmônio, bateria, baixo, guitarra e violão. Antes do final da sessão McCartney fez overdub nos vocais e backing vocal e pandeiro foram adicionados por McCartney, Lennon e Harrison. No entanto, esta tentativa foi descartada em favor de um remake no dia seguinte.
April 7

1966-The second day of recording for The Beatles' Revolver saw a continuation of work on Tomorrow Never Knows, and an early version of Paul McCartney's Got To Get You Into My Life.During the day's second session The Beatles began work on Got To Get You Into My Life. They recorded five takes, the last of which was released on 1996's Anthology 2. The recording featured harmonium, drums, bass guitar and acoustic guitar.

Before the end of the session McCartney overdubbed lead vocals, and backing vocals and tambourine were added by McCartney, Lennon and Harrison. However, this attempt was scrapped in favour of a remake on the following day.
Got To Get You Into My Life
(Lennon/McCartney)
I was alone, I took a ride, 
I didn't know what I would find there
Another road where maybe I could see another kind of mind there

Ooh, then I suddenly see you,
Ooh, did I tell you I need you 
Every single day of my life

You didn't run, you didn't lie
You knew I wanted just to hold you
Had you gone, you knew in time, we'd meet again
For I had told you

Ooh, you were meant to be near me
Ooh, and I want you hear me
Say we'll be together every day

Got to get you into my life

What can I do, what can I be, 
When I'm with you I want to stay there
If I'm true I'll never leave 
And if I do I know the way there

Ooh, then I suddenly see you,
Ooh, did I tell you I need you 
Every single day of my life

Got to get you into my life
Got to get you into my life

I was alone, I took a ride, 
I didn't know what I would find there
Another road where maybe I could see another kind of mind there

Then suddenly I see you,
Did I tell you I need you
Every single day...
 *John acreditava que, ao mencionar "another kind of mind" nas letras, Paul estivesse aludindo às suas experiências com drogas. Ele confirmou ser isso mesmo. Era um hino de louvor à maconha disfarçado de canção de amor. Não era de uma mulher que ele precisava todo dia, era de um baseado.  * John believed that by mentioning "another kind of mind" in the lyrics, Paul was alluding to his experiences with drugs. He confirmed that. It was a hymn of praise to marijuana disguised as a love song. There was not a woman that he needed every day, was a joint.
The Beatles book by Steve Turner

 06 de Abril
1966-A primeira sessão de Revolver dos Beatles aconteceu neste dia, com três takes da notável Tomorrow Never Knows de John Lennon.A sessão teve lugar no estúdio três da EMI Studios, Abbey Road, e durou de 20:00 01:15. Neste momento a música tinha o título de trabalho de Mark I.
Embora nunca tenha sido bastante diferente da versão final Tomorrow Never Knows, Mark I representou um enorme salto a frente em termos de gravação dos Beatles. Take um, que foi lançado em 1996 no Anthology 2, soou muito diferente de tudo o que o grupo havia feito antes - e, na verdade, tinha pouca semelhança com a música contemporânea em geral.
06 de abril de 1966 foi essencialmente gasto no ritmo e vocal da faixa de música. A base da versão final de Tomorrow Never Knows era o take três, a última das tentativas do dia.
A faixa de ritmo continha bateria de Ringo Starr, Paul McCartney no baixo e tambura de George Harrison. Lennon, em seguida, acrescentou seus vocais, que foram alimentados através de um órgão Hammond do alto-falante de Leslie durante o segunda metade.
April 6
1966-The first session for The Beatles' Revolver took place on this day, with three takes of John Lennon's remarkable Tomorrow Never Knows.The session took place in studio three at EMI Studios, Abbey Road, and lasted from 8pm-1.15am. At this time the song had the working title Mark I.
Although quite different from the final version of Tomorrow Never Knows, Mark I represented a huge leap forward in recording terms for The Beatles. Take one, which was released on 1996's Anthology 2, sounded quite unlike anything the group had done before - and, indeed, bore little resemblance to contemporary music in general.
6 April 1966 was primarily spent on the song's rhythm track and vocals. The basis of the final version of Tomorrow Never Knows was take three, the last of the day's attempts.
The rhythm track contained Ringo Starr's drums, Paul McCartney's bass guitar and George Harrison's tambura. Lennon then added his lead vocals, which were fed through a Hammond organ's Leslie speaker during the second half.
 Tomorrow Never Knows
(Lennon/McCartney)
 
Turn off your mind, relax and float down stream, It is not dying, it is not dying Lay down all thought, surrender to the void, Is it shining? Is it shining? That you may see the meaning of within It is being, it is being Love is all and love is everyone Is it knowing? Is it knowing? That ignorance and hate may mourn the dead It is believing, it is believing But listen to the colour of your dreams Is it not living, is it not living Or play the game "Existence" to the end Of the beginning, of the beginning.
 
* O título provisório da faixa era "The Void", tirada de uma frase de Leary "Beyond the restless flowing electricity of Life is the ultimate reality- the Void". "O título final foi um chavão de Ringo adotado por John, porque conferia leveza ao que de outra forma poderia soar como uma jornada desolada rumo ao nada.
* The working title of the track was "The Void", a phrase taken from Leary's "Beyond the restless flowing electricity of Life is the ultimate reality-the Void." "The final title was a Ringo's slogan adopted by John, because it gave light to what otherwise might sound like a desolate journey towards to nothing.
The Beatles book by Steve Turner

05 de Abril
1965-Neste e no dia seguinte, Os Beatles filmaram as cenas no Restaurante Indiano Rajahama para Help! no Twickenham Film Studios.Ao fazer as cenas de Os Beatles tiveram seu primeiro contato com a música Indiana. A cozinha interior e as cenas de jantar foram filmadas em um set construído propositadamente, em Twickenham.
5 April
1965-On this and the following day, The Beatles filmed the Rajahama Indian restaurant scenes for Help! at Twickenham Film Studios.While making the scenes The Beatles had their first exposure to Indian music. The interior kitchen and dining scenes were filmed on a purpose-built set at Twickenham.
A Hard Day's Night
(Lennon/McCartney)
It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright
You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're gonna give me everything
So why on earth should I moan, 'cause when I get you alone
You know I feel okay
When I'm home everything seems to be right
When I'm home feeling you holding me tight,tight,yeah
It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright
Owwww
So why on earth should I moan, 'cause when I get you alone
You know I feel okay
When I'm home everything seems to be right
When I'm home feeling you holding me tight,all through the night,yeah
It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright
You know I feel alright
You know I feel alright...
*A Hard Day's Night" (tocada por uma Banda Indiana e como um instrumental) 
*A Hard Day's Night" (played by Indian band and as an instrumental) 

4 de Abril
Em uma realização pouco provável de ser igualada, para a semana de 04 abril de 1964 os Beatles ocupavam as cinco primeiras posições do Hot 100 da Billboard. Ao todo tinham 12 lugares na tabela dos EUA.
As colocações do gráfico foram as seguintes, com as gravadoras respectivas entre parênteses:
1: Can't Buy Me Love (Capitol)
2: Twist And Shout (Tollie)
3: She Loves You (Swan)
4: I Want To Hold Your Hand (Capitol)
5: Please Please Me (Vee Jay)
31: Saw Her Standing There (Capitol)
41: From Me To You (Vee Jay)
46: Do You Want To Know A Secret (Vee Jay)
58: All My Loving (Capitol)
65: You Can't Do That (Capitol)
68: Roll Over Beethoven (Capitol)
79: Thank You Girl (Vee Jay)
Havia também duas gravações de tributo aos Beatles na lista: We Love You Beatles dos Carefrees no 42, e A Letter To The Beatles dos Four Preps na 85.
Na semana seguinte, mais dois singles dos Beatles entraram na parada: There's A Place (no 74) e Love Me Do (81).
April 4
1964-In an achievement unlikely to ever be equalled, for the week of 4 April 1964 The Beatles occupied the top five positions of the Billboard Hot 100 chart. In all they had 12 places on the US chart.
The chart placings were as follows, with the respective record labels in brackets:
1: Can't Buy Me Love (Capitol)
2: Twist And Shout (Tollie)
3: She Loves You (Swan)
4: I Want To Hold Your Hand (Capitol)
5: Please Please Me (Vee Jay)
31: Saw Her Standing There (Capitol)
41: From Me To You (Vee Jay)
46: Do You Want To Know A Secret (Vee Jay)
58: All My Loving (Capitol)
65: You Can't Do That (Capitol)
68: Roll Over Beethoven (Capitol)
79: Thank You Girl (Vee Jay)
There were also two Beatles tribute records on the list: We Love You Beatles by The Carefrees at 42, and A Letter To The Beatles by The Four Preps at 85.
The following week two more Beatles singles entered the chart: There's A Place (at 74) and Love Me Do (81).
 
 Thank You Girl
(Lennon/McCartney)
Oh, oh,
You've been good to me,
You made me glad
When I was blue,
And eternally I'll always be
In love with you,
And all I gotta do
Is thank you girl, thank you girl.
I could tell the world
A thing or two about our love,
I know little girl,
Only a fool would doubt our love,
And all I gotta do
Is thank you girl, thank you girl.
Thank you girl for loving me
The way that you do, (way that you do),
That's the kind of love
That is too good to be true,
And all I gotta do
Is thank you girl, thank you girl.
Oh, oh,
You've been good to me,
You made me glad
When I was blue,
And eternally I'll always be
In love with you,
And all I gotta do
Is thank you girl, thank you girl.
Oh, oh.
Italy
*"Thank You Girl", originalmente intitulada "Thank You Little Girl", foi escrita como uma sequência de "Please Please Me", e "From Me To You" foi pensada para ser seu lado B. No final foi  "From Me To You" que soou como um single mais natural, então as duas mudaram de lugar.
* "Thank You Girl", originally titled "Thank You Little Girl" was written as a sequence of "Please Please Me" and "From Me To You" was thought to be the side B. At the end was "From Me To You" single that sounded more natural, then the two moved.
The Beatles book by Steve Turner

03 de Abril
1961-Esta foi a terceira noite dos Beatles  na mais longa residência em Hamburgo, durante a qual desempenharam um total de 92 noites no Top Ten Club. 
O clube era de propriedade de Peter Eckhorn, que pagou a cada um dos Beatles 35DM (£ 3) por dia. Eles foram contratados a tocar a partir de 19:00 até 02:00 de cada dia da semana, e até três horas nos fins de semana, com um intervalo de 15 minutos em cada hora.
As apresentações no Top Ten foram tão bem sucedidas que Eckhorn prorrogou por duas vezes o contrato com os Beatles. Eles finalmente deixaram a Alemanha após o seu último show no clube em 1 de Julho de 1961, tendo se apresentado no palco por 503 horas durante a sua estadia. 
April 3 
1961-This was the third night of The Beatles' lengthiest residency in Hamburg, during which they played a total of 92 nights at the Top Ten Club.
The club was owned by Peter Eckhorn, who paid each of The Beatles 35DM (£3) per day. They were required to play from 7pm until 2am each weekday, and until 3am on weekends, with a 15-minute break in each hour.
The performances at the Top Ten were so successful that Eckhorn twice extended The Beatles' contract. They eventually left Germany following their final show at the club on 1 July 1961, having performed on stage for 503 hours during their stay.
 
Ain't She Sweet
(Yellen/Ager)
Oh ain't she sweet,
When you see her walking down the street.
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she nice,
When you look her over once or twice.
Yes I ask you very confidentially:
Ain't she nice?
Just cast an eye
In her direction.
Oh me oh my,
Ain't that perfection?
Oh I repeat
Well don't you think that's kind of neat?
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she sweet,
When you see her walking down the street.
Well I ask you very confidentially:
Ain't she sweet?
Oh ain't that nice,
When you look her over once or twice.
Yes I ask you very confidentially:
Ain't she nice?
Just cast an eye
In her direction.
Oh me oh my,
Ain't that perfection?
Oh I repeat
Well don't you think that's kind of neat?
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she sweet,
When you see her walking down the street.
Well I ask you very confidentially:
Ain't she sweet?
*Improviso em estúdio de um clássico que eles já haviam gravada em Hamburgo com John no vocal. Esta versão é mais parecida com a original gravada por Gene Vincent em 1956 do que a interpretação anterior dos Beatles.
* Improvisation in studio  of a classic  that they had recorded in Hamburg with John on vocals. This version is alike the original recorded by Gene Vincent in 1956 than the previous interpretation of the Beatles.
The Beatles book by Jeff Russel

02 de Abril
1970-A jornada de trabalho final dos Beatles no último álbum Let It Be foi uma sessão de mixagem  e edição de três músicas.
Phil Spector trabalhou na sala quatro da EMI Studios, com o engenheiro Peter Bown e o operador de fitas Roger Ferris. As três músicas trabalhadas foram The Long And Winding Road, Across The Universe e I Me Mine.
Alguns trabalhos futuros foram exigidos nos dois últimos tracks. Spector editou, então diminuiu Across The Universe, alterou o tom de ré para dó sustenido, e combinou duas mixagens em estéreo de  The Long And Winding Road - a edição pode ser ouvida em 1'26 ". 
Após do acetato da sessão do álbum estarem completo foi enviado a cada um dos Beatles, para aprovação. Embora mais tarde ele expressem ressentimento pelo trabalho de Spector, Paul McCartney disse estar inicialmente satisfeito com o tratamento das gravações.
  
April 2
1970-The final day's work on The Beatles' last album Let It Be was a stereo mixing and edit session for three songs.
Phil Spector worked in room four of EMI Studios, with balance engineer Peter Bown and tape operator Roger Ferris. The three songs worked on were The Long And Winding Road, Across The Universe and I Me Mine.
Some further work was also required on the latter two tracks. Spector edited then slowed Across The Universe, changing the key from D to C#, and combined two stereo mixes of The Long And Winding Road - the edit can be heard at 1'26".
After the session acetates of the completed album were sent to each of The Beatles for approval. Although he later expressed bitter resentment at Spector's work, Paul McCartney is said to have initially been happy with the treatment of the recordings.
 I Me Mine
(Harrison)
 All through the day I me mine, I me mine, I me mine,
All through the night I me mine, I me mine, I me mine,
Now they're frightened of leaving it,
Everyone's weaving it,
Going on strong all the time,
All through the day I me mine.

I me me mine,
I me me mine,
I me me mine,
I me me mine.

All I can hear I me mine, I me mine, I me mine,
Even those tears I me mine, I me mine, I me mine,
No-one's frightened of playing it,
Everyone's saying it,
Flowing more freely than wine,
All through the day I me mine.

I me me mine,
I me me mine,
I me me mine,
I me me mine.

All I can hear I me mine, I me mine, I me mine,
Even those tears I me mine, I me mine, I me mine,
No-one's frightened of playing it,
Everyone's saying it,
Flowing more freely than wine,
All through your life I me mine.
*A melodia de valsa de "I Me Mine" foi inspirada em "Kaiserwalzer" de Johann Strausss II, um trecho de sessenta segundos usado como música de fundo em um documentário da BBC2.
* The melody of waltz  of "I Me Mine" was inspired by "Kaiserwalzer"of Johann Strausss II, a stretch of 60 seconds used as background music for a documentary on BBC2.
The Beatles book by Steve Turner

01 de Abril
1967-A última música a ser iniciada para o álbum Sgt. Pepper  Lonely Hearts Club Band foi uma reprise da faixa-título. Ela foi gravada em uma única sessão neste dia.
A sessão aconteceu no enorme Estúdio 1 da EMI em Abbey Road, entre 7:00 da noite e 6:00 da manhã seguinte. Nove takes foram gravados; uma tentativa não utilizada, take cinco, foi incluído em 1996 no Anthology 2.
Cada membro dos Beatles tocando seus instrumentos convencionais, como um grupo, talvez por ocasião única do álbum. Paul McCartney cantou uma parte do vocal, e George Martin se juntou a eles no órgão.
McCartney, John Lennon e George Harrison overdubbed os vocais para o track três do take nove, e maracas e tamborim foram adicionados ao track quatro.
Sgt. Pepper Banda Lonely Hearts Club (Reprise) foi a única canção Sgt. Pepper que não teve mix de redução; as quatro tracks foram preenchidas com os instrumentos iniciais, os overdubs foram adicionados, então ela estava pronto para ser misturado para o álbum.
Nove mixagens em mono do take nove foram feitas durante esta sessão, a última das quais foi usada no álbum. Duplo tracking Artificial foi aplicado aos vocais, e alguns dos ruídos de multidão preparados em 6 de março de 1967 foram adicionados.
April 1
1967-The final song to be begun for the Sgt Pepper's Lonely Hearts Club Band album was a reprise of the title track. It was recorded in a single session on this day.
The session took place at EMI's enormous Studio One at Abbey Road, between 7pm and 6am the following morning. Nine takes were recorded; an unused attempt, take five, was included on 1996's Anthology 2.
Each member of The Beatles playing their conventional instruments, as a group, for perhaps the only occasion on the album. Paul McCartney sang a guide vocal part, and George Martin joined them on organ.
McCartney, John Lennon and George Harrison overdubbed vocals onto track three of take nine, and maracas and tambourine were added to track four.
Sgt Pepper's Lonely Hearts Club Band (Reprise) was the only Sgt Pepper song not to be given a reduction mix; the four tracks were filled with the initial instruments, the overdubs were added, then it was ready to be mixed for the album.
Nine mono mixes of take nine were made during this session, the last of which was used on the album. Artificial double tracking was applied to the vocals, and some of the crowd noises prepared on 6 March 1967 were added.
Sgt Pepper's Lonely Hearts Club Band (Reprise)
(Lennon/ McCartney)
We're Sergeant Pepper's Lonely Hearts Club Band
We hope you have enjoyed the show
Sergeant Pepper's Lonely Hearts Club Band
We're sorry but its time to go.
Sergeant Pepper's lonely.
Sergeant Pepper's lonely.
Sergeant Pepper's lonely.
Sergeant Pepper's lonely.
Sergeant Pepper's Lonely Hearts Club Band
We'd like to thank you once again,
Sergeant Pepper's one and only lonely hearts club band,
It's getting very near the end,
Sergeant Pepper's lonely.
Sergeant Pepper's lonely.
Sergeant Pepper's Lonely Hearts Club Band.
WWWWWWWWWWWOOOOOOOOOOO!!!!!!!!!!!!!!!!
*Paul conta "one-two-three-four" e introduz a reprise da faixa de abertura-se você ouvir com fones de ouvido perceberá que John diz: "bye" entre o "two" e o "three". Não há vocalista principal nesta segunda versão; todos cantam a letra adaptada, em harmonização a três vozes-e, ao contrário da faixa de abertura, aqui não há trompas. A faixa acaba com o som abaixando sob os aplausos da platéia e da entrada em fade in do violão e do piano de "A Day In The Life". 
* Paul counts "one-two-three-four" and introduces the reprise of the opening track, if you listen with headphones notice that John says "bye" between "two" and "three". There are no lead singer in this second version, all singing the lyrics adapted for matching the three voices, and, unlike the opening track, there are no trumpet. The track ends with the sound lowering of the applause of the audience and the entry into the fade in guitar and piano of "A Day In The Life."
http://www.musicnotes.com http://www.sing365.com The Beatles by Jeff Russel 


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