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by: Andy Roman (revolver@bright.net)
I Saw Her Standing There (takes 1-9)
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This first take of Paul McCartney's classic "potboiler" is, indeed, the version released commercially on the Beatles' debut album for Parlophone. McCartney's count-in introduction (taken from take 9) would be edited to the song's beginning later. Also to be added later would be Beatle hand- claps. Otherwise, the song was a live performance, captured in one take. However, only hindsight is said to be twenty-twenty, and at this point, it must have been felt that it could be improved upon, hence the additional takes.
A second go at what would be the album's opening track.
John Lennon is ready, "Okay, go on."
George Martin, from the booth, announces, "Here we go. . .
stand by."
Just before the take kicks off, a quick consultation between the band's two songwriters, as John demonstrates to Paul how he will come in after the the count-in. Paul understands, "Okay."
This version is now commercially available on ANTHOLOGY I.
At this point it is probably agreed that either take one or take two will be chosen for inclusion on the album (presumably take one). Hence, the recording of this edit piece, taken from the first repeat of the line "Woah, since I saw her standing there. ." at the song's ending. This edit piece, however, was never used.
Another edit piece, but this time the band takes it from just before the solo break. Perhaps in an attempt to add some "life" to what must have been perceived at the time to be somewhat "lifeless," Paul adds occcassional shouts of excitement behind George's solo. This take dissolves into break down, after the line "Well, my heart went boom, when I crossed that-"
Norman Smith, engineer for the session, makes his announcement: "Another edit piece. . uh, take- same edit piece, rather. Take five." Once again, the boys take it from just before the solo. This attempt includes a few more screams and shouts underneath George's tense twanging of the solo. This take, too, breaks down, this time only a few seconds past the point of the song where the previous take fell apart.
The Beatles are through with edit pieces for now. The song is now to be taken straight from the top again. Norman Smith confirms this, "Complete one, take six."
Bassist Paul is caught on the session tape conferring with John on the order of the lyrics: "How could I dance. . . She'll n- , She wouldn't dance. . . I'll never dance. ."
This run-through of the lyric sequence is particularly funny in view of the fact that take six breaks down precisely because of a flub on these very words. During the second stanza, Paul starts off singing the correct lyric of "She wouldn't dance. . ." but changes it mid-word to "I-I 'll never dance. . ." because John is incorrectly singing it that way. The take breaks down after that.
McCartney comments, "Too fast. ."
George Martin : "No, you had a wrong word. She, I. .
."
Paul: "But, I mean, it's too fast
anyway."
After no acknowledgement from the booth on this matter, and a
new take announcement from Norman Smith,
Paul says, "Then again. . . ."
Paul counts in, but is immediately dissatisfied,
commenting, "Too fast. . . .again" as the take quickly breaks
down.
Paul: "And again. . .I'm sorry, you know. .
."
This eighth attempt to perfect the song also breaks down. A guitar part
is conspicuously missed as Paul sings "And the way she
looked. ." during the first stanza.
Paul: (in his
best Liverpudlian) "What 'appened?"
This take is complete. Most important to note is that it is the count-in intro of this take that is used on the commercially released version used on their first album. It is the first "spirited" count-in used by Paul, all others being quiet and generally accompanied by foot-tapping.
George's guitar solo is once again tense and slightly sloppy in places. There is once again a scream or two behind the solo. In a couple of places, the singing is a little shaky, but still enjoyable to hear nontheless.
(Takes 10 through 12 were attempts to overdub handclaps. Take 12, which is actually take one and take nine edited together with these handclapping overdubs, was used.)
Earlier on February 11, 1963
Later on February 11, 1963 
Behind The
Scenes.
