1962, September 11: Back-Story

(above) drummer Andy White

Surprise!

There can be no doubt that George Martin was displeased with Ringo’s drumming at the previous recording session, September 4, for not only were The Beatles expected to re-record “Love Me Do” but, when they arrived to the studio this day, September 11, session drummer Andy White was in attendance, ready to roll. The other three Beatles were not shocked and put up no resistance, for George Martin had taken them aside previously to tell them that he “would like to bring in another drummer for this record”¹. There are a few theories concerning why Martin felt uneasy enough to bring in Andy White. First, he hadn’t asked The Beatles to let Pete Best go; that was their decision. It may be that Martin, not at all familiar with Ringo, felt that The Beatles had acted rashly, replacing one inferior cog for another. Second, Ringo was unfamiliar with the material, having joined the group for good just weeks earlier. That tentativeness was likely evident. Third, Ringo had been drumming strangely on September 4. As Ringo said, “I was playing the bass drum with a maraca in one hand and a tambourine in the other. I think it's because of that that George Martin used Andy White”¹. Fourth, Ringo had not made a favorable impression with his talent. Paul said, “Ringo at that point was not that steady on time”¹. Martin told Hunter Davies in 1968, “He couldn’t do a roll – and still can’t – though he’s improved a lot”².

Whatever the reason, The Beatles had put themselves in this position. Having petitioned George Martin for “Love Me Do” to be their first single (and triumphing over Mitch Murray’s “How Do You Do It”), they were tacitly (if not literally) obliged to adhere to George Martin’s authority all the more. Thus, when Martin told the boys that Andy White would be waiting for them this day, it was understood that Ringo would have to suffer the ignominy to stand aside. Ringo told Davies quite naively, “Nobody said anything” because “we were just lads being pushed around”³. Not quite. George Martin was actually absent for most of this session (Ron Richards took charge), but this was not a sign that he was uninterested or hiding out, only that all was in order as planned.

Ringo also attested that he was “devastated” and “I thought, they’re doing a Pete Best on me”³. But even this should not bring much sympathy for Ringo, for he ended up making the negative into a positive, taking Andy White’s appearance as a challenge, not a slap in the face; a classic case of manning-up.

¹ The Beatles Anthology, p.76

² The Beatles, p.162

³ The Beatles, p.163

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RECORDING AND MIXING

“P.S. I Love You” was recorded first, using ten takes. As Andy White kept an adequate beat, Ringo joined in on the maracas. Paul had composed “P.S. I Love You” in April or May 1962¹, during a Beatles Hamburg trip. John said, “That’s Paul’s song. He wrote that in Germany, or when we were going to and from Hamburg”². The key question here is, did Paul write this song around the time of Stu Sutcliffe’s death (April 10), or around the time they put down basic tracks for “Sweet Georgia Brown” (May 24)? Like “Love Me Do,” this song was probably written for a Beatle girl, namely Dorothy “Dot” Rhone, Paul’s Liverpool squeeze. Rhone’s own words on the subject are: here. Paul, however, responded that “P.S. I Love You” was “not based in reality, nor did I write it to my girlfriend from Hamburg, which some people think”³, and John said that “he was trying to write a ‘Soldier Boy,’ like The Shirelles”², a big hit for the girl band in April and May 1962. I leave it for the reader to decide.

“Love Me Do” followed, taking 18 takes. This time, Ringo grabbed a tambourine.

George Martin showed up to the studio as the boys began recording “Please Please Me.” This song had been rehearsed on September 4, 1962, but Martin at that time thought the Roy Orbison-style tempo too slow. On September 11, Andy White played drums while The Beatles tried to work out the kinks to this song, but scheduled time ran out before much progress was made.

At session's end, Mono mixes were done for all three songs, and taped to EMI reel E47852 (see John Barrett’s note: here). Although some references claim that acetates were made, I can find no evidence for this.

No Stereo mixes were made. Instead, Mock-Stereo mixes for “Love Me Do” and “P.S. I Love You” were created on February 25, 1963, on EMI reel E48979 (see John Barrett’s note: here), indicating that the twin-track master tapes were already destroyed (per EMI protocol of that time).

¹ Dowlding, Beatlesongs, p.34

² Sheff, All We Are Saying, p.168

³ Miles, Many Years From Now, p.38

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RELEASES

“Love Me Do” with Andy White (“Version 2”) was first released on the Please Please Me LP, March 22, 1963, but George Martin decided to release the earlier recording (“Ringo Version”) on The Beatles’ premier single, October 5, 1962. Regarding this, no clear explanation has been given. The common idea is that Martin wanted to “make it up” to Ringo, but this makes no sense. For if Martin thought so little of the “Ringo Version” as to bring in Andy White, and thought so well of the Andy White version as to make it the candidate for the debut LP (and a later “Rechanneled Stereo” remix), it would seem self-defeating that he should choose the “inferior” (Ringo) version for the single which preceded the album (if at all). And if the argument is that Martin’s soft heart did this, that is, allowed for a sacrifice of quality to mollify Ringo’s consternation, this not only questions the producer’s judgment, but also makes Martin’s relationship with Ringo (who he only met a week prior) or with the other Beatles (with whom he had only a bit more affection) to be exaggerated for the sake of the reasoning. A better explanation is that Martin merely changed his mind. That is, after bringing in Andy White to improve on Ringo, Martin found that he preferred the Ringo Version, and he used the opportunity to serve as a silent apology (an olive branch, so to speak). What did Martin like about the Ringo Version? One theory is that John’s harmonica was so much better thereon that Martin felt compelled to issue it; and perhaps, after satisfying his desire to allow John his perfect moment on vinyl, and having “repented” for bringing in Andy White, Martin thereafter felt released enough (spiritually, that is) to notice that Version 2 was best after all, the evidence being that the Ringo Version was not used again by Martin until a 1980 compilation called Rarities.

On April 27, 1964, “Love Me Do” (Version 2) and “P.S. I Love You” were released on a single in the US (Tollie 9008). The A-side reached #1 on May 30, 1964, and the B-side hit #10 on June 6.

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RELATIVES: Andy White is still active in music; visit his website: here. White lives in New Jersey; read a local article: here. A short interview with White: here.

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Tom Wise
gengar843@msn.com

Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2010 Tom Wise

1963, January 22

(above) Beatles walking outside BBC Paris Studio

Brian Epstein had done a terrific job of securing The Beatles timely appearances, and this was no exception. The day after signing a deal with Vee-Jay Records, giving them access to America (Capitol Records had at this time politely declined), The Beatles were back on the radio for their first appearance on BBC Light’s Saturday Club, a rock and pop venue with tart host Brian Matthew and an audience of millions. The combination of their several TV and radio spots this January would push “Please Please Me” to #1, and Matthew was not without some foresight, his introduction of the band saying as much. The Beatles performed on January 22, between 4-5pm, at the Playhouse Theatre, London, and played five songs. The show was aired on January 26 from 10am-noon.

On the same day, the lads moved over to London's BBC Paris Studio where, from 7-8pm, they performed three songs for The Talent Spot. This show was broadcast on January 29, from 5-5:29pm ("Please Please Me" and "Some Other Guy" are unavailable).

(ref: Winn, Way Beyond Compare)

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TRACKS:

“SOME OTHER GUY” (Leiber/ Stoller/ Barrett) (Saturday Club)

“LOVE ME DO” (Saturday Club)

“PLEASE PLEASE ME” - fragments (Saturday Club)

“KEEP YOUR HANDS OFF MY BABY” (Goffin-King) (Saturday Club)

“BEAUTIFUL DREAMER” (Foster) (Saturday Club)

“ASK ME WHY” (Talent Spot)

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AUDIO SOURCE: Purple Chick's The Complete BBC Sessions - Upgraded for 2004, Disc 1 provides the cleanest, most complete, and speed-checked experience. You can also hear the tracks: here.

Apple’s release of “Keep Your Hands Off My Baby” (Live at the BBC) includes a manufactured instrumental intro where none existed (fake).

A comprehensive history of The Beatles at the Beeb bootleg releases is: here.

VIDEO: None.

ACETATE: A look at a possible acetate from this date is: here.

TOURISM: The BBC Paris Studio, where many famous BBC radio shows were recorded, was in Waterloo Place at the bottom of Lower Regent Street. It closed in 1995.

_______________________________________________________________________

Tom Wise
gengar843@msn.com

Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2010 Tom Wise.

1962, September 4: Back-Story

(above) Mitch Murray

“HOW DO YOU DO IT”

John, Paul, and George (and probably Brian Epstein) had been under the misunderstanding that Pete Best was their only impediment on the way to studio freedom. Having divested of Pete for Ringo, they believed their troubles to be over. In fact, there was another storm a-coming, and The Beatles were ill-prepared for it.

Under the impression that they had knocked out George Martin with their catchy “Love Me Do” and quirky “P.S. I Love You,” they were quite dumbfounded when Martin delivered to them a song from a relatively-unknown composer which he felt more correctly befitted his new foundlings. This was Mitch Murray’s “How Do You Do It.” Martin loved The Beatles personally, but “frankly, the material didn't impress me, least of all their own songs. I felt that I was going to have to find suitable material for them, and was quite certain that their songwriting ability had no salable future!”¹.

Mitch Murray was a pleasant lad who had on May 4, 1962² written “How Do You Do It," demoing it shortly thereafter for Barry Mason and Adam Faith, both of whom turned it down. Murray, on a mission of his own, approached Ron Richards of EMI (George Martin’s assistant), who in turn convinced publisher Dick James to purchase the rights to Murray's song. Here, the clarity of the narrative breaks down. Let’s examine three trails:

(1) Ron Richards said that he liked “How Do You Do It” so much that he “immediately” (probably May 1962) brought the demo to Dick James, who signed up for the publishing rights “straightaway.” After a “long time,” Richards took the Murray acetate from his desk, and played it to George Martin “much later” (possibly August 1962), when Martin was trying to decide what The Beatles ought to record for their first record³. This is the most plausible timeline.

(2) According to Dick James, Mitch Murray came to him (not to Ron Richards) with the demo, and James (not Richards) brought it ‘round to George Martin. But James’ story is full of holes. First, he said that Murray had been peddling his song with no success for six months. This is very much untrue (it was only a few weeks, at most). Second, James said that four months after The Beatles recorded “How Do You Do It” it was October 1962. This is also false⁴. We need not go any further. Nevertheless, James’ claim that he brought the demo to George Martin is supported by Davies (“Dick James rushed ‘round to George Martin”⁵) and Martin himself (“Dick James brought me a number”¹). But Martin and Davies both have untenable dating positions. Martin wrote that "How Do You Do It" was rejected in favor of "Please Please Me" (George Harrison explained that Martin believed “How Do You Do It" could still be The Beatles’ second single⁶), and that this was the first rejection of Murray's song (following the “disappointment” of “Love Me Do” on the charts); but this is completely incorrect, since “How Do You Do It” actually contended with “Love Me Do” for The Beatles’ initial release. Davies (and Philip Norman) made the same chronological error, causing all their accounts to be at least doubtful (Norman further twisted the tale by claiming that George Martin went to Dick James⁷). It might even be incorrect to say that this song survived to November 26 (for consideration against “Please Please Me"), since Dick James said that he received a call from Martin in late October explaining that “How Do You Do It” would not be used in any way. Perhaps James misspoke on this point as well.

(3) Thompson agreed that Richards brought this song to Martin’s attention in the summer of 1962, but also claimed that this was before Dick James ever heard the song². I think this makes little sense.

In any event, there came a time when George Martin was mulling choices for his Liverpool band, and he gave a listen to “How Do You Do It.” In his mind, it was a match. Ron Richards said that Martin felt the song would be “ideal for them”³. Martin’s description is more revealing. After he heard it, “I jumped up and said, ‘That's it. We've got it. This is the song that's going to make the Beatles a household name’”¹. Norman wrote that Martin was “jumping up and down”⁷. Later, Martin effervesced somewhat less, saying, “I was convinced that ‘How Do You Do It’ was a hit song. Not a great piece of songwriting, not the most marvelous song I had ever heard in my life, but I thought it had that essential ingredient which would appeal to a lot of people”⁶.

The timeline then becomes fuzzy again, concerning when The Beatles received their marching orders. Ron Richards stated that, after he played the acetate for George Martin (about August 1962), the boss “sent a copy to Liverpool right away so that they could learn their parts”³. Winn supported this, and it makes the most sense. Paul, on the other hand, testified that (on June 6, 1962, obviously), “He gave us it on a demo, a little white acetate. We took it back to Liverpool,” and that, back home, they wondered, “What are we gonna do with this? This is what he wants us to do, he's our producer, we'll have to do it, we'll have to learn it”⁸. George Harrison (supposedly) said, supporting Paul, “When we first went to EMI and saw George Martin, he gave us a song. Some guy who was supposed to be a writer of pop songs wrote it. George said, ‘Here's a song. Go back and learn it’”⁹. George's account is flawed already, in that June 6, 1962 was not the first time that The Beatles met George Martin. Paul's story sounds nice, but there is no evidence that The Beatles ever tested "How Do You Do It" live (although both Winn and Unterberger maintain that they did). Thus, it seems that Ron Richards' account is the accurate one.

Having received the acetate sometime in August, there was little time to do much of anything except talk about it (and perhaps arrange it a little), and there was plenty to talk about. The budding stars wanted to be careful about their first step in the majors. They wanted to remain “bluesy” ⁸, they wanted to go in a “slightly artistic direction”, and they were ready to forego the Number One hit if it meant being fey to get it (and “God knows we needed a number one”¹⁰). Mainly, though, the lads worried about how recording “How Do You Do It” would affect their reputation with “all the lads in Liverpool”⁸. More to the point, they fretted over “peer pressure” that might force them out “into the wilderness”^10. Apparently, John and Paul worried that even “Love Me Do” was only borderline-acceptable, (although good enough to be admired by “groups we respect") but with “How Do You Do It” they sincerely felt that they would be “laughed at”⁶. Coincidentally , our heroes were not alone in their reluctance; both Dick James⁴ and Mitch Murray² expressed hesitation at letting the scruffy Liverpudlians record this “gem,” James giving George Martin a “sick look” when he found out.

There does not seem to be any truth to the notion that The Beatles determined to bring in an arrangement of Murray's song with a “my way or the highway” attitude; in actuality, the boys were afraid to make enemies of Martin and EMI, a natural fear, and were willing to bend to the end of their integrity (but no further). Arriving to the studio on September 4, they did, however, let it be known that they weren’t cozy with “How Do You Do It." George Martin, though, “read the riot act”¹, and Lewisohn reported that, when The Beatles balked at recording “How Do You Do It,” Martin told them “when they could write a song as good as this one, then he would let them do that instead”³. Paul said that Martin lectured how the music biz works - songwriters, publishers, groups, blah, blah, blah – but they were adamant, yet diplomatic, saying, “It's a hit, George, but we've got a song, ‘Love Me Do.’” Martin said, “I don't think yours is such a big hit," to which they countered, “Yes, but it is us, and it is what we're about”⁶ (Paul's story-telling, while compelling, is also confusing, for he said that after this meeting they “went home” and "learnt it up," which would indicate that these conversations took place before September 4, 1962. With no breaks in their schedule, and most or all of their gigs taking place in the Liverpool area¹¹, the only date that really fits is June 6. However, all the evidence points otherwise, which leads to the conclusion that Paul's memory was faulty).

In the studio, The Beatles duly recorded “How Do You Do It,” John at lead vocal. There is no truth to the idea that they deliberately made a poor showing of it, although both Mitch Murray² (and possibly Dick James¹²) thought so. In the first place, our lads have always been thoroughly professional. In the second place, George Martin would have forced them to record as many takes as satisfied him. George Martin said, “They didn't like doing it, but we made a good record”⁶, and, “They never shirked on jobs. They really didn’t want to do it, but in the end they did quite a good job”³ Paul said that they did it, but they didn't like it, and they were still thinking that they wanted to go for “something new”⁸. This was quite revolutionary in 1962: that an unknown pop band might write their own songs rather than use accomplished songwriters. On this, they were forceful, and Martin understood. Paul said this was “symptomatic of our group” in the same way that they told Brian Epstein that they weren’t going to America until they had a Number One there⁶. Thus, after listening to the acetate, and to the opinions of our Beatles, Brian Epstein, and Mitch Murray, George Martin decided, on September 11, 1962, that this song would not, after all, be suitable for their first release together, and it was led to the EMI vault.

After The Beatles dropped it, Gerry and the Pacemakers were next offered the opportunity to record “How Do You Do It.” Gerry “leapt at the chance,” keeping the same Beatles tempo and arrangement⁸. Their version went to #1 on April 11, 1963, where it stayed for a total of three weeks, before being replaced by “From Me to You”¹³.

HISTORICAL FOOTNOTE: After “How Do You Do It” was officially rejected (probably October 1962), George Martin introduced Brian Epstein to Dick James over the phone. Brian was seeking a new publisher not only for The Beatles (he wasn’t happy with Ardmore and Beechwood), but also for a growing stable of Liverpool artists under his management. That was “the start of it”⁴. That is, it was the start of one of the greatest publishing success stories of all time. It also happened to be the genesis of the biggest betrayal; for, seven years later, Dick James sold his share in Northern Songs (the Beatles’ song catalog) to Sir Lew Grade, an act that precipitated John and Paul eventually losing authority over their own songwriting works.

References for “How Do You Do It”

¹ Martin, All You Need is Ears, p.123, 128, 129

² Thompson, Please Please Me: Sixties British Pop, Inside Out, pp.187-188

³ Lewisohn, Recording Sessions, p.19

⁴ Billboard, 9/18/71

⁵ Davies, The Beatles, p.166

⁶ The Beatles Anthology, p.77

⁷ Norman, Shout!, p.184

⁸ Lewisohn, Recording Sessions, p.8

⁹ Badman, The Beatles Off The Record, origin of quote unknown

¹⁰ Miles, Many Years From Now, p.83-84

¹¹ Lewisohn, The Beatles Live!

¹² Lewisohn, Chronicles, p.78

¹³ theofficialcharts.com

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“LOVE ME DO”

“Love Me Do” was written in 1958, when Paul was 16. Paul related that this song was “50/50” co-written with John¹, but John took little credit for himself, saying he contributed perhaps “something to do with the middle eight”². Iris Caldwell, Rory Storm’s sister, who Paul later dated, claimed that this song was written for her³. Paul said that “Love Me Do” was “us trying to do the blues. It came out whiter because it always does”⁴. Wryly, he also remarked that it was “our greatest philosophical song”⁵.

References for “Love Me Do”

¹ Miles, Many Years From Now, p.37

² Hit Parader, April 1972 (originally from Record Mirror, October 1971)

³ Harry , The Beatles Who Who (1982), p.30

⁴ Lewisohn, Recording Sessions, p.8

⁵ Interview, Paul with Alan Aldridge, 1967

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RECORDING AND MIXING

Lewisohn told that “How Do You Do It” was completed in an unknown number of takes, and handclaps were added as overdubs. The rhythm track for “Love Me Do” took at least 15 takes. This may have been a consequence of Ringo as newcomer, or some “curious drumming technique” he employed, which possibly led to George Martin’s next move (1962, September 11). The vocals, superimposed next, also took a long time. Winn doubted Norman Smith’s claim that a “fair bit of editing” followed, citing lack of evidence. George Martin then mixed both songs to Mono and created acetates. According to John Barrett, two reels were used for this session, E47730 (which Winn called the recording reel, but which appears to be a master Mono reel) and E47776 (which Winn called the mix, but which appears to be the acetate). See Barrett's notes (in color): here.

(above) Acetate of "Love Me Do" thought to be from this session.

(above) Acetate of "How Do You Do It" thought to be from reel TL14063S, created 10/5/62; probably the disc used to make bootlegs, beginning 1976. Ref: here.

References for Recording and Mixing

Winn, Way Beyond Compare; Lewisohn, Recording Sessions; Sulpy, Complete Beatles Audio Guide (2006); Lewisohn, Chronicles, p.78

_______________________________________________________________________

Tom Wise
gengar843@msn.com

Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2010 Tom Wise

1962, June 6

(above) George Martin

THE MEANING

It is believed that, shortly after the official rejection by Decca (1962, January 1), Beatles manager Brian Epstein met with Parlophone Records producer George Martin. At this meeting (commonly cited to have taken place on February 13), Martin agreed, on the strength of the Decca tape which Brian held, to give The Beatles an audition. But three days earlier, on February 10, 1962, Brian had already posted a letter to Dick Rowe (Decca), stating that The Beatles had received a recording contract offer¹. Certainly, this was not the case, because (according to history) no other record company had shown an interest in the band. However, we can believe that by February 10 Martin had at least arranged this first meeting with Brian. Thus, Brian, with barely a sliver of hope, told Dick Rowe to shove off, a bold and exciting move.

Brian and George Martin must have hit it off quite well, for Brian felt sufficiently boosted to send a letter on February 20 to Bert Kaempfert, the Hamburg producer, asking that The Beatles be released from their commitment to record again with Tony Sheridan¹, and it would seem unlikely that a chance with Polydor Records should be dismissed so easily if Brian's faith in George Martin was not strong. Nevertheless, Martin later wrote that he most certainly would not have offered The Beatles a recording contract before an audition². Therefore, it seems that Brian was continuing his boldness, believing firmly that, once Martin heard the lads live, a contract was forthcoming.

The audition with Martin took place, at the earliest, in March of 1962². Apparently, it went quite well, since Brian sent another letter to Bert Kaempfert, on March 27, 1962¹, requesting that The Beatles' contract with Polydor be terminated, after the conclusion of their responsibility, on June 30 of that year. We should think that Brian was steering a strange career move if Martin, on behalf of EMI and Parlophone Records, had not made a strong offer; and Brian’s letter stated as much, that The Beatles would be recording with Parlophone on their return from Hamburg, indicating that some form of negotiation had taken place. Nevertheless, it is a fact that Martin did not make that dream come true until May 9, 1962², for that is the date Brian sent a congratulatory telegram to the boys (who were at the time performing in Hamburg), and another telegram to Bill Harry at Mersey Beat, announcing the Beatles' "secured contract" and "first recording date”¹. Again, we must conclude that Brian’s faith and enthusiasm were ahead of reality.

This time, however, it was for real. On May 18, 1962, George Martin put in for the standard Application for Artiste Contract, which was prepared by the record company on May 24, and returned signed by Brian Epstein by June 4 or 5^{1, 2}.

Living only on hopes and prayers, burning bridges while crossing over canyons with eyes closed, Brian in the end was proved right. It was a classic case of visualizing one's future and then making it happen. How else do we explain his continuous confidence?

June 6, 1962 was an actual Beatles recording session. Lewisohn, however, regarded this date as a kind of audition (a “test” session), and estimated the signed contract as not legally binding, requiring at some future time an EMI counter-signature, which would not be requested by George Martin until he was satisfied that the band met his standards³. But if this were true, why, on June 26, did Ron (R.N.) White, General Marketing Manager for EMI, send a letter to Brian, acknowledging The Beatles’ valid contract¹? Did Martin send the contract for that counter-signature sometime after June 6 but before June 26? There is no evidence for this, except conjecture on the part of Lewisohn⁴ and others. June 6 was never an audition, but the first date of “artist development,” which concept can be seen through the events of summer and fall, 1962.

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THE OUTCOME

The recording session itself was stressful. Paul later noted that they were especially worried about one song, "Besame Mucho." The Beatles were "starting a reputation" and wanted to be "careful as to what we do" in order to "keep our integrity with all the lads in Liverpool." They didn't want everyone back home to think they'd "gone soppy”⁵. “Besame Mucho” was nevertheless the first song taped.

For the recording session, George Martin’s assistant Ron Richards was by Martin assigned to be producer while the boss attended to other business (this by itself underscores that The Beatles were not there for a test, but for artist development). However, during the taping of "Love Me Do” (the second song) Richards was suitably impressed to call Martin in for a listen⁴ (which indicates that Richards was in “producer development”).

At the time George Martin began working with “Love Me Do”⁴ (some references say before any recording began), The Beatles were given a lecture (an orientation, if you will) by Martin, Ron Richards, and Norman Smith (the recording engineer), detailing many the rights and wrongs, whys and wherefores, of the music business. At the end, Martin asked them, “Now, is there anything you don't like?" After a short silence, George Harrison piped up, "Well, for a start, I don't like your tie”⁶. Thus was born the affable relationship between Goons humor (Martin produced Dudley Moore and Peter Cook) and Liverpudlian dry wit.

According to John Barrett, this day’s session was recorded to EMI reel E47052 as twin-track Stereo, mixed (probably straight) to Mono. Also on this reel were “P.S. I Love You” and “Ask Me Why,” recorded third and fourth, respectively. See in color: here.

After the session was complete, The Beatles, according to a letter from Brian Epstein to EMI’s Ron White, dated June 29, 1962¹, expected to record again “towards the end of August,” for the purpose of making their “first disc.” This should not be taken to imply that June 6 was an audition, but that it was (generally speaking) a failure in that no performance from the session was deemed suitable for release. Brian, not willing to admit this failure, likely viewed June 6 as a warm-up. In his letter, Brian also mentioned that he hadn’t heard from George Martin “lately,” but this should not be construed to mean that Martin was tempted to renege on their contract, nor even that he was disinterested in the band; it was merely Brian’s nerves taking hold.

¹ Lewisohn, Chronicles, pp.54-55

² Martin, Summer of Love: The Making of Sgt Pepper, pp.32-33

³ Lewisohn, Chronicles, p. 56

⁴ Lewisohn, Recording Sessions, p.38

⁵ Lewisohn, Recording Sessions, p.9

⁶ Davies, The Beatles (1968), p.162; first in Life, 9/13/68

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TRACKS

"BESAME MUCHO" (Velazquez)

"LOVE ME DO"

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AUDIO

History

It was for a long time believed that all four songs recorded this day were completely lost. However, Beatles luck won out when “Besame Mucho” and “Love Me Do” were discovered in two separate miracles. “Besame Mucho” was found in late 1983 or early 1984 on a “private reel,” reportedly somewhere in the Far East. The 1983/1984 dating is derived by noting that the track was not included in the “Abbey Road Show” private tour (July 1983), but was, however, edited by Barrett (July 1984) for the aborted Sessions LP (slated for 1985 release but withheld due to legal wrangles). Sometime thereafter (possibly 1994), Judy Martin (George's wife) came across an acetate disc of "Love Me Do" at the back of a Martin residence closet. The Anthology video claimed, however, that it came from a “private reel” (probably a mix-up with “Besame Mucho”), while Miles and Badman, in Beatles Diary Vol. 2 (2001), wrote that both “Besame Mucho” and “Love Me Do” were found by Judy Martin in the back of a “cupboard.”

Neither of these performances should be considered a Variation since they are in the realm of outtakes.

Recommendations

Though quashed, test pressings for Sessions had been cut. When the legitimate release was thwarted, these test pressings were quickly leaked (or stolen) and bootlegged (first as Sessions with a fake EMI label), and thus "Besame Mucho" from this date made its public debut.

Widely recommended for this track is the bootleg Ultra Rare Trax 1. But I do not recommend it. First, a digital copy I heard had what sounded like surface crud from ancient vinyl. Listening to vinyl for URT 1 (Drexel 1988) in hopes of some improvement, the sound was nevertheless the same. Reaching further back, I tested Sessions vinyl (fake EMI 1985). Identical. I then listened to Unsurpassed Masters 1 (Yellow Dog), and it is a vast improvement from a noise standpoint.

The performance on Anthology 1 has noticeable noise reduction and sibilance, so I don't recommend it. Now, Purple Chick wrote in the documentation for I Hope We Passed the Audition (detailed information on this boot: here) that they used URT1 for the basis, but clearly "Besame Mucho" on Chick's collection is straight from Anthology.

The boot Artifacts 2, disc 1 presents the URT1 track in Mock-Stereo.

Note that all of these sources incorporate a loop edit for the final line (repeat on the fade-out), which edit, according to Brennan, was probably done for Sessions. But Winn noted that an earlier version, without this edit, circulates among collectors (although at the time of publication this version was unbootlegged).

"Love Me Do" from this session was first released on Anthology 1 (the only current root source), but it's found on a variety of bootlegs also.

VIDEO

None.

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TOURISM: Abbey Road Studios.

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Tom Wise
gengar843@msn.com

Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2010 Tom Wise.