The v1 build of this site assigned The Night Before a take count of forty-four. Lewisohn’s session entry for 17 February 1965 records two takes, with take 2 selected as best. That is the single largest take-count error found in the corpus so far—a number inflated by a factor of twenty-two, carried silently through every version of the page until this week’s enrichment session opened the source. And The Night Before was not alone: the same session corrected You Like Me Too Much from 14 takes to 8, stripped a güiro reference that belonged to an entirely different song (Tell Me What You See, recorded two days later), and discovered that the page credited Paul McCartney with the lead vocal on a George Harrison composition. George sang it.
The 18 October marathon
Before crossing into 1965, the campaign finished the Beatles for Sale cluster with the 18 October 1964 marathon sessions. Rock and Roll Music turned out to be a genuine one-take recording—not the 19 takes the v1 page claimed, but a single pass with no overdubs. Lewisohn calls it “a scintillating one-take recording… just a magnificent live performance.” The v1 page had also fabricated “three pianists clustered round the keyboard”; in reality, George Martin played piano alone. The same session’s Kansas City/Hey-Hey-Hey-Hey! was two takes, not four, with Kehew and Ryan’s documented four-track tape layout showing Martin’s piano buried on Track 4—explaining why Lewisohn describes it as “barely discernible on record.”
Two other pairs from the late-Beatles for Sale sessions followed. She’s a Woman dropped from 13 to 7 takes; I Feel Fine from 19 to 9, with the second engineer corrected from Richard Langham to Geoff Emerick. Baby’s in Black needed 14 takes, not 19, with Ron Pender as second engineer; Honey Don’t was 5, with A.B. Lincoln. Across these six pages, the same equipment corrections appeared on every one: the Studer J37 tape machine had not yet arrived at Abbey Road (it came in early 1965), so the BFS sessions ran on the Telefunken M10; the console was a REDD.51, not a REDD.37; the microphones were AKG D19c and D20, not STC 4038.
Crossing into 1965
The Help! sessions beginning 17 February 1965 are the first pages in the corpus where enrichment has moved past the Beatles for Sale cluster into a new album era. The equipment story changes subtly: the Telefunken four-track is still in Studio Two (the Studer J37 did not arrive until April 1965), but the Vox amplifier lineup has shifted to the A.C.100 Super De-Luxe, and Ken Scott appears as second engineer on the afternoon session. You’ve Got to Hide Your Love Away, recorded the next day, was the first page where the one-page floor was invoked under the two-page protocol—context from the preceding pair had been consumed, and the session chose depth over throughput.
That page also carried an anachronistic ADT listing. Automatic Double Tracking was not developed until 1966; listing it on a February 1965 recording is the kind of error that reads plausibly unless you know the timeline. Stripped, along with every remaining v1 cruft section—pattern-analysis SVGs, cross-references, related-songs lists, see-also blocks, signal-flow chevrons, and external badge bars.
The streak
The re-verification streak—consecutive pages where the next-session check against the printed sources finds nothing to correct—hit twenty-three this week. The two-page protocol adopted three weeks ago has not broken it. Enrichment stands at 87 of 214, with the metadata tag graph spanning 35 songs. Five sessions moved ten pages this week; the Beatles for Sale cluster is fully drained and the campaign is into Help!