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Feb. 7: No recording on this date.

Feb. 6: 1968 - Studio One: 2.30-8.00pm. Tape copying: The Inner Light' (of take 5, numbered take 6). Recording: `The Inner Light' (overdub onto take 6). Mono mixing: `The Inner Light' (remix 1, from take 6). Studio One: 9.00pm-2.00am. Recording: `Lady Madonna' (tape reduction take 3 into take 4, overdub onto take 4, tape reduction take 4 into take 5, overdub onto take 5). Mono mixing: `Lady Madonna' (remixes 1 and 2, from take 5). 'The Inner Light' was all but completed during the afternoon with George adding vocals to a four-track copy tape of the original two-track Bombay stereo. The evening session saw the completion of `Lady Madonna', with the addition of a second McCartney lead vocal, a second piano piece, handclaps, "See how they run' backing vocals by Paul, John and George and a charming middle eight vocalised brass imitation achieved by the three Beatles cupping their hands around their mouths. Still the song needed the finishing touch and Paul decided that it must be real brass, four saxophones to be exact.

Feb. 5: 1969 - Apple Studios: time unknown. Stereo mixing: `I've Got A Feeling' (two versions); `Don't Let Me Down'; `Get Back' (two versions); `The One After 909'; ` Dig A Pony'. Stereo mixes, ending with a tape compilation, of the 30 January rooftop recordings.

dog, thanks for the link, some very nicely done Beatles covers.

This guy is worth a look on YouTube, great Beatles tunes here, fun that he involves his kids too. Even sounds a bit like John in some songs. http://www.youtube.com/user/PENNYWHO

Feb. 4: 1968 - Studio Three: 2.30-5.30pm. Recording: `Across The Universe' (takes 1-7). Studio Three: 8.00pm-2.00am. Recording: `Across The Universe' (overdub onto take 7, tape reduction take 7 into take 8, overdub onto take 8, sound effects takes 1-3). Six takes of `Across The Universe' were recorded [numbered one to seven but there was no take three]. The first was of the rhythm track only: acoustic guitar (John), tomtoms ( Ringo) and tamboura (George), all of the instruments fed through a revolving Leslie organ speaker and subjected to flanging. Take two, a gorgeous recording, brought in a sitar introduction by George, also with much flanging, another acoustic guitar and a pure Lennon lead vocal. John and Paul realised that the song was still lacking something: falsetto harmonies, beyond the male vocal range. Two girls — Lizzie Bravo, a 16-year-old from Brazil, temporarily living close to Abbey Road, and Gayleen Pease, 17, a Londoner, they couldn't believe they'd actually been invited by Paul not just inside the building but into the studio itself, to sing with the Beatles. The day's final overdub for `Across The Universe': backwards bass and drums for track four.

Feb. 3: 1968 - Studio Three: 2.30-6.00pm. Recording: `Lady Madonna' (takes 1-3). Studio Three: 7.00pm-1.30am. Recording: `Lady Madonna' (overdub onto take 3). This concentrated series of sessions, ending on 11 February, was more productive than expected and realised four new songs, all mixed and ready for issue. The first of these was `Lady Madonna', a rocking new Paul McCartney composition with a great boogie feel, accentuated by a double-tracked piano and Paul's strong vocal delivery. In the first `Lady Madonna' session, this afternoon, three takes of the basic rhythm track were recorded: piano ( Paul) and drums (Ringo), the latter using brushes instead of sticks. Then, in the evening, a number of overdubs were made onto take three: Paul's bass, John and George on fuzzed guitars (both instruments played through the same amplifier) and another drum track by Ringo. Paul also added the first of his two lead vocal recordings and John and George contributed scat backing vocals while munching Marmite flavoured crisps. (The crunching was omitted from the remix!)

Feb. 3: 1967 - Studio Two: 7.00pm-1.15am. Recording: 'A Day In The Life' (overdub onto take 6). More overdubs onto take six of 'A Day In The Life' including the re-recorded Paul McCartney vocal. Ringo taped his contribution on tomtoms, giving the song a distinctive percussion sound. It is true that on only a handful of occasions during all of the several hundred session tapes and thousand of recording hours can Ringo be heard to have made a mistake or wavered in his beat. His work was remarkably consistent — and excellent — from 1962 right through to 1970.

Feb. 2: 1967 - Studio Two: 7.00pm-1.45am. Recording: 'Sgt Pepper's Lonely Hearts Club Band' (overdub onto take 9, tape reduction take 9 into take 10). Mono mixing: 'Sgt Pepper's Lonely Hearts Club Band' (remix 1, from take 10). Overdub of Paul's lead and group backing vocals onto tracks three and four of the 'Sgt Pepper's Lonely Hearts Club Band' tape, followed by a tape-to-tape reduction mix vacating two of the tracks for future overdubs.

Feb. 1: 1967 - Studio Two: 7.00pm-2.30am. Recording: 'Sgt Pepper's Lonely Hearts Club Band' (takes 1-9). The album was not "The Sgt Pepper Project" until the recording of this Paul McCartney song and Paul's realization soon afterward that the Beatles could actually pretend they were Sgt Pepper's band, the remaining songs on the LP forming a part of a show given by the fictitious combo. Nine takes of the rhythm track ( drums — with heavy echo — bass and two guitars, one by Paul the other by George) were recorded on this night. Paul's bass was recorded by direct injection of the sound into the recording console, as opposed to being recorded through an amplifier and a microphone.