Saturday, 17 February 2018

Why Are There Different Versions of "Help!"?

Composer: Lennon / McCartney

John Lennon rhythm guitar (1965 Framus Hootenanny 12-string acoustic guitar), Lead Vocal
Paul McCartney bass (1963 Hofner 500/1 bass), Backing Vocals
George Harrison lead guitar (1964 Gretsch Tennessean guitar), Backing Vocals
Ringo Starr drums (1964 Ludwig Oyster Black Pearl "Super Classic" Kit with 22" kick drum)

George Martin: Producer
Norman Smith: Engineer
Ken Scott: 2nd Engineer

Recorded: 7:00-11:00pm, Tuesday 13th April 1965, Studio 2, Abbey Road Recording Studio
Recording Medium: Four Track

Additional Recording: 7:00-10:00pm, Monday 24th May 1965, CTS Studios, London
Recording Medium: Three Track

Mono Mix: 18 June 1965
Stereo Mix: 18 June 1965

UK Mono Release: Friday 23rd July 1965 (A Single / I'm Down [Parlophone R5305])
UK Stereo Release: Friday 6th August 1965 (Help! LP [Parlophone PCS-3071])
US Mono Release: Monday 19th July 1965 (A Single / I'm Down [Capitol 5476])
US Stereo Release: Friday 13th August 1965 (Help! LP [Capitol SMAS-2386])


Running Time:
  • Mono Mix: 2:23
  • Stereo Mix: 2:23

Available on:
(Source: Beatles For Sale on Parlophone Records , Bruce Spizer and Frank Daniels, 498 Productions 2011, Way Beyond Compare: The Beatles' Recorded Legacy, Volume One, 1957-1965 , John C.Winn, Three Rivers Press 2008, Beatles Gear: All the Fab Four's Instruments from Stage to Studio , Andy Babuick, Backbeat Books 2002)

As with all of The Beatles' material up until 1969, Help!, the title song from their second feature film, was released in both mono and stereo versions. It had been written by John Lennon at his home in Weybridge on Sunday 4th April during a day off from filming. In 1980, Lennon said of the song:

When Help! came out, I was actually crying out for help. Most people think it's just a fast rock 'n' roll song. I didn't realise it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help. So it was my fat Elvis period. You see the movie: he - I - is very fat, very insecure, and he's completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was.

Recording

The song was recorded in 12 takes on Tuesday, 13 April. The first nine takes concentrated on the backing track, with no vocals. As was their standard practice, the bass and drums were recorded to one track of a four-track tape, and the two guitars went on a second:

Take 1

Stopped after 36 seconds when one of the strings on Lennon's guitar snapped

Take 2

Stopped after Harrison mis-played the first descending guitar riff

Take 3

Stopped after verse 2, when Lennon changed chords a couple of bars early

Up until this point, Harrison has been playing chords over the intro, syncopated offbeats in the chorus and the descending guitar arpeggios at the start of each verse. After Take 3, George Martin pointed out that Harrison was not playing the arpeggios cleanly, and suggested that it should be overdubbed later. Harrison pointed out that this would require him to play the arpeggios and sing simultaneously, which would be even harder.

Take 4

This was complete, although Harrison missed out the arpeggios, and Starr makes a couple of minor errors.

Take 5

This was also complete, but Lennon's guitar is out of tune.

Take 6

McCartney counted the band in again before Lennon had a chance to tune his guitar. However, Martin aborted the take halfway through the opening verse, allowing Lennon to tune up. Lennon tried to do so, but fails, much to his own frustration.

Take 7

Stopped after the band failed to get the transition to the final verse. Lennon's guitar was still out of tune.

Take 8

Halted after a few seconds when Harrison stopped playing

Take 9

A complete and satisfactory take.

After Take 9, the Beatles then recorded double tracked vocals on to the remaining two tracks. One of the vocal tracks also featured Starr on tambourine.

The four tracks of the original tape were then transferred to a new four track tape by engineer Norman Smith, combining the two vocal tracks to one and leaving one track free. These were counted as new takes. During the mixdown, the intro was mixed out from one of the two vocal tracks, because Lennon's timing was off.

Take 10

Complete but not used

Take 11

Aborted after Smith forgot to mix out one of the vocal tracks from the intro

Take 12

A satisfactory mix. Harrison then recorded his guitar arpeggios on to the fourth track.

A rough mono mix was prepared for the Beatles at the end of the session. Three more mono mixes, numbered RM2-4, were prepared the following Sunday, 18th April, along with a stereo mix, numbered RS1, with all the instruments mixed on one side and all of the vocals mixed on the other. As the tambourine had been recorded alongside the vocals, it was on the vocal track.

Rerecording the Vocals

RM4 was the best mono mix, and was supplied to United Artists for the film soundtrack. The following Thursday, 22 April, the Beatles were at Twickenham Film Studios, where they filmed a black and white sequence, used in the film. The Beatles, dressed in black on a minimalist set, mimed to RM4. Starr wears the ring that is at the centre of the film's plot, while Lennon plays his six-string Gibson acoustic.

However, the Beatles' miming was inaccurate and did not sync up with the film, and it was decided that the vocals needed to be re-recorded. This was done in a non-EMI session on the evening of Monday 24th May, at CTS Studios in London. CTS was often used for post-sync sound production work for film and television, and was an unusual choice of recording venue - perhaps the new vocals were required by United Artists rather than EMI, so the studio was their choice, or perhaps Abbey Road was simply not available.

Either way, CTS could only record to three track tape, so the instrumental track from RS1 was transferred to one of the three tracks, leaving the other two tracks free for Lennon, McCartney and Harrison to record their double-tracked vocals in an unknown number of takes. Starr, presumably, was not at the session, because he did not re-record his tambourine.

Mixing

Mono Film Version

The new version was mixed to mono at CTS the same evening, and this is the version used in the film.

Mono Single and Album Version

When preparing the mixes for the single and mono album on 18th June, George Martin decided that the vocals during the introduction of the re-recorded version were not satisfactory, so he edited the first 11 seconds from the original RM4 mono mix into the re-recorded version.

Stereo Version

When he went to prepare the final stereo mix, George Martin encountered a problem: the three track tape from CTS could not be mixed to stereo, because Abbey Road did not possess a three-track tape machine. He resorted to using the original 13th April vocals from Take 12.

Subsequent Mixes

All subsequent stereo mixes of the song have also used the 13th April vocals.
In 1987, George Martin made a new stereo mix of Help! for release on CD. This was remastered in 2009 and re-released.
In 2015, the song was remixed again by Giles Martin and Sam Okell at Abbey Road Studios for release on a new version of 1.

Differences Between the Mono and Stereo Versions

The mono version has no tambourine, and on the first verse, John sings "and now these days...".

The stereo version has a tambourine, and John sings "but now these days..."

The phrasing of "changed my mind" differs between the mono and stereo versions as well.




Saturday, 10 February 2018

Past Masters - How it should have been


Past Masters

Disc 1
  1. Love Me Do 
  2. From Me to You 
  3. Thank You Girl 
  4. She Loves You 
  5. I'll Get You 
  6. I Want to Hold Your Hand 
  7. This Boy 
  8. Komm, gib mir deine Hand 
  9. Sie liebt dich 
  10. Long Tall Sally 
  11. I Call Your Name 
  12. Slow Down 
  13. Matchbox 
  14. I Feel Fine 
  15. She's a Woman 
  16. Bad Boy 
  17. Yes It Is 
  18. I'm Down 
  19. Day Tripper 
  20. We Can Work It Out 
  21. Paperback Writer 
  22. Rain 
  23. Penny Lane
  24. Strawberry Fields Forever

Disc 2
  1. All You Need Is Love
  2. Baby, You're a Rich Man
  3. Hello, Goodbye
  4. Magical Mystery Tour
  5. Your Mother Should Know
  6. I Am the Walrus
  7. The Fool on the Hill
  8. Flying 
  9. Blue Jay Way 
  10. Lady Madonna 
  11. The Inner Light 
  12. Hey Jude 
  13. Revolution 
  14. Get Back 
  15. Don't Let Me Down 
  16. The Ballad of John and Yoko 
  17. Old Brown Shoe 
  18. Across the Universe 
  19. Let It Be 
  20. You Know My Name (Look Up The Number)
Past Masters is a double-CD set containing all of The Beatles' recordings that had not otherwise been released on an album.

Originally released in 1988 as a two separate CDs, named Past Masters Volume One and Past Masters Volume Two, the collection was compiled by Beatles historian Mark Lewisohn at the time when the Beatles' albums were being prepared for CD in the mid-1980's.

Past Masters Volume 1


Owing to the band's policy of not releasing singles that had not already been released on an album, the compilation contains many of the band's most important recordings, including such tracks as She Loves You, I Want To Hold Your Hand, Paperback Writer and Hey Jude. The collection consists of all of the Beatles' singles, including songs that had been released as alternative mixes or recordings for singles (eg Get Back, Revolution and Let It Be). It also includes three tracks recorded specifically for foreign markets (two of them in German), a track originally donated to a charity compilation album and all of the tracks from the Long Tall Sally EP.

The Long Tall Sally EP
contained the songs Long Tall Sally, I Call Your Name,
Slow Down and Matchbox


A decision had been taken by Apple at the time to standardise the Beatles' albums worldwide, using the original UK releases so that they were released as The Beatles had intended. In all, Lewisohn had a straightforward task - basically to compile all of the tracks that were not on a UK album into chronological order.

But then Apple made an odd decision. Somewhere down the line, someone decided that the US Magical Mystery Tourcompilation album should be integrated into the standard UK releases. The Magical Mystery Tour double EP had been released in the UK on 8 December 1967. It contained the songs
The Magical Mystery Tour EP
Side A
1. Magical Mystery Tour
2. Your Mother Should Know
Side B
1. I Am The Walrus
Side C
1. The Fool On The Hill
2. Flying
Side D
1. Blue Jay Way

But EPs were falling out of favour in the US, and Capitol, the Beatles' American label, opted to release Magical Mystery Tour as an album, filling it out with the Beatles' 1967 singles, the Sgt.Pepper's Lonely Hearts Club Band era Penny Lane/Strawberry Fields Forever, and All You Need Is Love/Baby You're A Rich Man, and UK Magical Mystery Tour era non-album single, Hello Goodbye, (the B-side, I Am The Walrus, was on the EP). The Magical Mystery Tour album was released in the US on 27 November 1967.

Fast forward to 1988, and this caused an odd anomaly on the Past Masters compilation, because there is a jarring change of style between 1966 B-side Rain and the next non-album single, 1968's Lady Madonna. This could easily have been prevented by moving the four tracks at the start of Volume Two (Day Tripper, We Can Work It Out, Paperback Writer and Rain to the end of Volume One).

But it would have been more in keeping with the spirit of the releases to have included all of The Beatles' 1967 non-album tracks, eg the US Magical Mystery Tour album.

There is also an argument to include the four new songs from the Yellow Submarine album, but as this is a UK album, it had a legitimate place in the release schedule.

There is perhaps a simple commercial reason for bringing the US Magical Mystery Tour compilation into the standardised discography: selling Past Masters Volume OnePast Masters Volume Two and Magical Mystery Tour will make more money for Apple than simply Past Masters Volume One and Past Masters Volume Two. But including the 1967 UK singles and EP in the set would have made it flow better as a compilation.

Nevertheless, technology has changed since the 1980s, and we have the ability to make our own compilations. A full track listing for Past Masters Discs One and Two is presented here. At 60:01 for Disc 1 and 70:08 for Disc 2, it fits comfortably on two CDs.

Feel free to include the four Yellow Submarine tracks - they fit neatly in between "Revolution" and "Get Back", but would extend the collection to three CDs. In the 21st century, with our MP3s, this doesn't really matter.



Wednesday, 3 August 2016

Yellow Submarine - A Complete Songtrack


Yellow Submarine - A complete list of all of the songs, in order
  1. Pepperland
  2. March Of The Meanies
  3. Yellow Submarine
  4. Eleanor Rigby
  5. Love You to
  6. A Day In The Life
  7. All Together Now
  8. Sea Of Time
  9. When I'm Sixty Four
  10. Only a Northern Song
  11. Sea Of Monsters
  12. Nowhere Man
  13. Lucy in the Sky With Diamonds
  14. Sea Of Holes
  15. Yellow Submarine In Pepperland
  16. Think for Yourself
  17. Pepperland Laid Waste
  18. Sgt Pepper's Lonely Hearts Club Band
  19. With a Little Help from My Friends
  20. Baby You're a Rich Man
  21. All You Need Is Love
  22. Hey Bulldog
  23. It's All Too Much
The Beatles animated movie Yellow Submarine contains a wealth of Beatle classics, released between 1965 (or 1966 if you are American) and 1967, as well as three songs recorded with little enthusiasm specifically for the film, and one song recorded for Sgt.Pepper's Lonely Hearts Club Band but rejected. Two songs were taken from Rubber Soul (or Yesterday...and Today if you are American), three from Revolver, and five from Sgt.Pepper's Lonely Hearts Club Band, as well as both sides of the All You Need Is Love single. A couple of attempts have been made to release official soundtrack albums.


The original Yellow Submarine album from 1969
The first, released as Yellow Submarine on 13 January 1969 in the US and, as Yellow Submarine (Nothing Is Real) on 17 January 1969 in the UK, included the four new songs, along with the title track (originally released on Revolver in 1966) and All You Need Is Love (originally released as a single in 1967, and on the American album Magical Mystery Tour). It also contained seven pieces of incidental music by George Martin, much as the US versions of A Hard Day's Night and Help! had done a few years previously. However, where those albums had scattered Martin's orchestrations amongst the tracks by The Beatles, here they were confined to side two of the album, with all of The Beatles' songs on side one.

Yellow Submarine Songtrack released in 1999

The second attempt at a soundtrack album was Yellow Submarine Songtrack, released on 13 September 1999. This compilation gathered most of the songs used in the film, but omitted Martin's incidental music. All of the songs were remixed from the original multi-tracks using 1990's digital technology. Although the songs were all re-released in their original 1960's stereo mixes in 2009, these remain the best versions of these songs available. The technique has only been repeated once, when The Beatles' greatest hits album, 1, was remixed and re-released in 2015. Yellow Submarine Songtrack is also the only release of a true stereo mix of George Harrison's Only A Northern Song. The original version was only ever mixed in mono, due to a complex recording process that required two 4-track tape recorders to be synchronised manually. A fake stereo version was made from the mono mix for the original Yellow Submarine album. By the 1990s, all of the tracks from both sets of 4-track tapes could be synchronised digitally to create the first stereo mix of the song.

Yellow Submarine Songtrack omitted A Day In The Life, for fear that the album almost constituted a remixed version of the Beatles' classic 1967 album Sgt.Pepper's Lonely Hearts Club Band. The version suggested in the playlist here is from the Blue Album, which omits the cross fade from Sgt.Pepper's Lonely Hearts Club Band (Reprise) on the original Sgt.Pepper's album. This version was prepared for the 1988 documentary film  Imagine: John Lennon  and originally appeared on the soundtrack.


Thursday, 28 August 2014

"Twist and Shout" - The Beatles' Classic That Nearly Wasn't Recorded

Composer: Phil Medley and Bert Berns (under the pseudonym Bert Russell)

John Lennon rhythm guitar ('58 Rickenbacker 325 guitar), Lead Vocal
Paul McCartney bass ('61 Hofner 500/1 bass), Backing Vocal
George Harrison lead guitar ('57 Gretsch Duo Jet guitar), Backing Vocal
Ringo Starr drums (Mahogany Duroplastic Custom Premier kit)

George Martin: Producer
Norman Smith: Engineer
Richard Langham: Second Engineer

Recorded: 11 February 1963, Abbey Road Studio Two (Takes 1-2)
Recording Medium: Two Track

Mixing:
  • Mono: 25 February 1963, Abbey Road Studio 1 (from Take 1)
    • George Martin: Producer
    • Norman Smith: Engineer
    • A.B.Lincoln: Second Engineer
  • Stereo: 25 February 1963, Abbey Road Studio 1 (from Take 1)
    • George Martin: Producer
    • Norman Smith: Engineer
    • A.B.Lincoln: Second Engineer

UK Release: 22 March 1963 (LP: Please, Please Me, Parlophone PMC 1202 [mono], PCS 3042 [stereo])
US Release: 22 July 1963 (LP: Introducing The Beatles, Vee Jay VJLP 1062 [mono], SR 1062 [stereo])

Running Time:
  • Mono Mix: 2:35
  • Stereo Mix: 2:37
  • US Mono Mix: 2:36
  • US Stereo Mix: 2:36

Chart Action:
  • US Release: 2 March 1964 (A Single / There's A Place) Tollie 9001
    • Entered the top 40 on 21 March 1964. Stayed in top 40 for nine weeks, reaching No.2 for four weeks.

Available on:

And also on the following compilations:
The Beatles had had one minor hit single in Love Me Do, and a massive number one hit single in it's follow up, Please Please Me. George Martin wanted to release an album as quickly as possible. Such was Martin's urgency that he called them in from their February 1963 tour with Helen Shapiro, and pressed ahead with making the record, despite the effect that a heavy cold was having on John Lennon's voice.

They already had the A and B sides of the two singles, so they needed to record another 10 tracks to make up the 14 that was the standard number of tracks on a UK album at that time. Thus, at 10:00am on Monday 11th February 1963, the Beatles traipsed into Abbey Road Studio 2 to begin work on their d├ębut album. Nearly 13 hours later, they were done.
George Martin: The first LP was recorded in one day. We needed to have things quickly. I was very concious about that with 'Please Please Me' being a number-one single. If I had an album to follow it very sharply, I would have a big album sale. I knew darn well we couldn't record an album of original songs. So the obvious thing to do was to record all the stuff they did in their live act. I'd already been to see them at the Cavern, so I knew their repertoire by this time. I just got them down to the studio and said, "Right, we're going to record 'Roll Over Beethoven,' we're going to record 'Money,' we're going to record 'Chains,' and so on. It was rather like a performance actually. We started at ten in the morning, no, eleven, in deference to their long beauty sleep, and I think we finished about ten at night. We a break for lunch and a break for tea and we recorded 10 songs. Norman Smith was at the controls, and he got a good balance. It was knocked off like a live performance.

(Source: The Beatles: An Oral History David Pritchard & Alan Lysaght, Hyperion, 1998 (pp117-118))

Martin's recollections are obviously a little hazy: The Beatles did not record either Roll Over Beethoven or Money on that day, although both tracks appeared on their second album. Studio documentation shows that the session did indeed begin at 10:00am. Studio documentation also shows that they recorded 11 songs.

The Beatles' remarkable performance of Twist and Shout was released as the
lead track on an EP (Parlophone GEP 8882) on 12 July 1963, along with A Taste
of Honey
, Do You Want To Know A Secret and There's A Place
In addition to Martin, Smith and The Beatles themselves, journalist and fellow Liverpudlian Alan Smith was also present. He had been invited to cover the session for the NME, and wrote about it in the 17 July 1963 edition, in an article entitled The 'Twist And Shout' Battle Hots Up! (And How The NME Helped).

They had recorded two songs in the morning, rehearsed through their lunch hour, and recorded another three songs in the afternoon. The evening session began with The Beatles attempting to record the final Lennon / McCartney original of the session, Paul McCartney's Hold Me Tight.

Asked about the song in 1987, McCartney recalled:
I can't remember much about that one. Certain songs were just 'work' songs, you haven't got much memory of them. That's one of them... I remember the name of the tune. Some of them... I wouldn't call them fillers but they were 'work' songs. You just knew that you had a song that would work, a good melody. 'Hold Me Tight' never really had that much of an effect on me.

(Source: The Complete Beatles Recording Sessions Mark Lewisohn, Hamlyn, 1988 (p10))
Of the 13 takes of Hold Me Tight recorded by The Beatles, only takes 6 and 9 were complete, and neither of them were performed satisfactorily. Nevertheless, it was decided that takes 9 and 13 could be edited together to create a master version, but this was never done.

By 10:00pm, The Beatles had rattled through four more tracks and fulfilled their quota for 10 songs. But by then, someone - probably George Martin - had decided that Hold Me Tight wasn't up to scratch and asked for a replacement. So they took a break, and The Beatles, George Martin, Norman Smith and Alan Smith went down to the Abbey Road canteen for refreshments, and discussed what the final song might be.

The 17 July 1963 issue of the NME, containing
Alan Smith's article, The 'Twist And Shout' Battle
Hots Up! (And How The NME Helped)
 
Alan Smith described what happened next:
At about 10pm we all retired to the studio canteen for coffee and biscuits, where the Beatles and recording manager George Martin began an earnest discussion about a suitable number for the last track.
A lot of material was considered, but there were some friendly arguments about a final choice. 'Twist And Shout' — a number I'd heard them do on a radio programme a few days before — hadn't been mentioned.
"What about 'Twist And Shout'?" I asked group member George Harrison, who was sitting nearby. "I heard it on the radio the other day and it was pretty good."
"That's an idea!" said George. He mentioned it to Paul, John and Ringo. They nodded in agreement. "Make it nice and loud!" shouted someone over the canteen noise of cups and saucers.
Well, off they went back to the studio — and recorded it in two takes!
(Source: Alan Smith, The 'Twist And Shout' Battle Hots Up! (And How The NME Helped), NME, 17 July 1963
Thanks to Dylan Crawfoot for sourcing the text of this article.)
The radio broadcast that Smith remembered was The Talent Spot, recorded Tuesday 27 November 1962 and broadcast at 5:00pm on Tuesday 4 December 1962, just a day short of 10 weeks previously to the recording session (not quite the "few days" that Smith mentioned in his article). The Beatles had performed Love Me Do, P.S. I Love You and Twist and Shout.

Alan Smith recalled the incident slightly differently when interviewed about it fifty years later:
They were sitting in a little room to the side of the studio, and they said "What are we going to do for the last number?" And I said "I thought I heard you guys do 'La Bamba' a few weeks ago on the radio?". And Paul McCartney looked a bit blank, and he said, "No, you mean 'Twist and Shout'". So they said "Alright, let's go and do it", and they just went and did it. And I looked down from the control room, and John Lennon did it. He wasn't well - he had a really bad cold, and he was drinking milk and having throat sweets, and just did it in one glorious take.

(Source:Alan Smith, interviewed by Jo Whiley, 12 Hours To Please Me, BBC Radio 2, 11 February 2013)

Zubes
Norman Smith also remembered the occasion.
"Someone suggested they do 'Twist and Shout', the old Isley Brothers' number, with John taking the lead vocal. But by this time all their throats were tired and sore - it was 12 hours since we had started working. John's, in particular, was almost completely gone so we really had to get it right first time, the Beatles on the studio floor and us in the control room. John sucked a couple more Zubes, had a bit of a gargle with milk and away we went."

(Source: The Complete Beatles Recording Sessions Mark Lewisohn, Hamlyn, 1988 (p26))
The original Top Notes version of Twist and Shout, produced by Phil Spector.

Twist and Shout was written by Phil Medley and Bert Russell, a pseudonym for songwriter Bert Berns. It was originally released in America in August 1961 by the Top Notes on the Atlantic label (45-2115), produced by a little known producer named Phil Spector. The single did not chart.

Berns felt that Spector had failed to capture the energy generated by the Top Notes' live performances, and decided to make a new recording of the song, with himself producing.

The new version, released in the UK by the Cincinnati group, The Isley Brothers in July 1962 on the StateSide label (SS 112), reached the lofty position of number 42 on the UK chart. In Revolution in the Head, critic Ian MacDonald says of the Isley Brothers version "the bass is looser and the conception more spontaneously chaotic, with saxes and trumpets joining in on what is basically a party record with Latin overtones".


The Isley Brothers version of Twist and Shout, produced by songwriter Bert Berns.
Despite it's low chart placing, The Isley Brothers version of Twist and Shout attracted the attention of The Beatles, who were always on the lookout for obscure records to add to their act - this was their way of setting themselves apart from the other bands that vied for audience attention at the Cavern and in Hamburg. It was added to their act around August 1962. But where the Isleys had created a party record for American high school proms, the Beatles turned it into something far more feral - a record for late nights in Liverpool's sweat dripping Cavern and the strip clubs of the Hamburg Reeperbahn. Where the Isley Brothers version twisted at the hip, The Beatles twisted very firmly at the groin.

They didn't play the song every night, but it was one of a rotating number of songs. It was certainly part of their set when they supported Frank Ifield in Peterborough on 2 December 1962. Reviewer Lyndon Whittaker of the Peterbourgh Standard said:
"The exciting Beatles" rock group quite frankly failed to excite me. The drummer apparently thought that his job was to lead, not to provide rhythm. He made far too much noise and in their final number "Twist and Shout" it sounded as though everyone was trying to make more noise than the others. In a more mellow mood, their "A Taste of Honey" was much better and "Love Me Do" was tolerable.

(Source: Lyndon Whittaker, The Peterbourgh Standard, 7 December 1962, quoted in The Beatles Live, Mark Lewisohn, Henry Holt & Co, 1986 (p118),
also in Tune In: The Beatles: All These Years, Mark Lewisohn, Crown Archetype, 2013 (p816))

So in Abbey Road Studio Two, with Lennon stripped to the waist, and with the others treating the control room staff as their audience, The Beatles went for it.The song was completed in one take. As Alan Smith said in his NME article, a second take was made, but Lennon had given his all, and though the performance was complete, his voice had gone. Lennon's performance is arguably one of the most stunning rock and roll achievements of all time. In the control room, Martin, the two Smiths and Langham were stunned. Going by McCartney's triumphant "Hey" at the end, The Beatles perhaps surprised even themselves.

So it seems that Twist and Shout, one of the all time great recordings, might not have happened at all if The Beatles had been able to nail Hold Me Tight - certainly one of the lesser songs in the Lennon/McCartney canon.