Control Room Monitor Mixes

The Beatles
Monitor Mixes - CD cover Monitor Mixes - CD back
Control Room Monitor Mixes - Front Cover Control Room Monitor Mixes - Back Cover
Monitor Mixes - Liner Notes
Control Room Monitor Mixes - Liner Notes
Monitor Mixes - The C.D.
Control Room Monitor Mixes - The C.D.
Label Yellow Dog
Catalogue No. YD 032
Country of origin Luxemburg/Hungary
Release date 1993
Total time 49:58
(from the CD Liner)
A "Monitor Mix" is an off-line recording taped from studio monitors during the preliminary mixing of a song. The Beatles often recorded their sessions this way for home listening, unintentionally preserving some mixes which were subsequently lost on the E.M.I. multi-tracks.
By occasionally isolating one of the tracks, these tapes clearly illustrate how post-1964 construction of Beatles songs occurred.

My Comments :
Once again, an essential audio experience.

The C.D.

No Tracklisting Comments Time
1 Across The Universe Take 2 - Vocal and acoustic guitar tracks only.
Seven takes were recorded on 4th February 1968. Although many variants exist of the released take, this lovely performance is the only available outtake from the '68 sessions.
2 For No One Take 1 (breakdown) and Take 2 (incomplete) - Piano and drum tracks only.
Paul and Ringo recorded this track on 9th May 1966.
3 I'm The Walrus Takes 7 & 8 (breakdowns) and Take 9 (complete).
Walrus was recorded on 5th September 1967. Takes 4-16 exist, with five of them being complete. The resulting "best" take (#16) was mixed down to two-track and called Take 17.
On 6th September, Paul and Ringo superimposed more bass and drums and John recorded the vocal - so the only known vocal performance of the song is the one that was released.
4 For No One Take 10 (x3) (Paul's vocal overdubs)
Take 14 (French horn overdub session)
This is the 16th May 1966 overdub session (using the backing tracks of Take 10 from 9th May).
The French horn part, added on 19th May is now audible.
5 Here, There And Everywhere Take 14 (x4).
Recorded on 16th June 1966. Once again, we hear multiple attempts to mix the same take.
6 Sexy Sadie Bits and pieces from the 19th July 1968 recording session.
All of these attempts at Sexy Sadie were unused. (continues below ...)
7 Brian Epstein Blues An off hand 'tribute' from John, performed during the Sexy Sadie session (above & below). 1:06
8 Sexy Sadie Continuation of the playbacks above.
Of particular interest is the conversation between John and Paul which occurs over one of the playbacks. This indicates that these tapes were indeed, recorded at the time of the original mixing sessions.
Also heard is Yoko's comment that John "could do better".
9 Lady Madonna Probably a warm-up or rehearsal outtake, piano and harmonium only.
This interesting fragment is part of an unidentified session, most likely for a completely different song. Since it's undocumented in E.M.I.'s official session log, it's possible that this was captured off-line on the tape which was recording the monitor mixes, and was not recorded on multi-track tape.
10 Happiness Is A Warm Gun Take 65 overdub session.
A single track from the original multi-track, consisting of edited organ, guitar, drum and piano overdubs. This and the following performances are from the remix session of 15th October 1968.
11 I'm So Tired (Backing Tracks) Tracks 7 & 8 of the 8-track recording.
Guitar and organ parts, which were later mixed almost entirely out of the song. A fascinating glimpse into an abandoned idea.
12 I'm So Tired #1 A series of remixes of the same take. Most of these include John's count-in, and a post-song comment from George. John's vocal is also single-tracked, unlike the E.M.I. release. Also note that Lennon's post-song "Paul's A Dead Man" muttering is absent from the original performance. 2:30
13 I'm So Tired #2 2:58
14 I'm So Tired #3 2:07
15 I'm So Tired #4 (Incomplete) 1:29

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