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The John Barrett Notes: 1962-1963

By John C. Winn

 [E47052] A  Besame Mucho (1.) 6 Jun 1962 
2T  P.S. I Love You (3.)
 Ask Me Why (4.)
 Love Me Do (2.)
 ARTIST MANAGER FROM TAPE FILE SHEETS IS RON RICHARDS!
 Job No. M172/2PMS

N: Ron Richards was actually the producer of this recording test/session, standing in for George Martin. The numerals next to each title probably indicate the original order of recording. Although this reel no longer exists, a 7" lacquer was cut of each title. A tape copy of "Besame Mucho" was discovered in 1983, and an acetate of "Love Me Do" was found by George Martin's wife while cleaning out his closet! These were both included on ANTHOLOGY 1.

 [E47730] A  How Do You Do 4 Sep 1962 
 Love Me Do

N: This was probably the original session tape. Take numbers are unknown, but take 2 was the "best" for "How Do You Do It" and "Love Me Do" required at least 15 takes. Interestingly, "Love Me Do" was given Job #M172, the same as the previous session, while "How Do You Do It" was assigned #M188.

 [E47776] A  How Do You Do (2.) 4 Sep 1962 
 Love Me Do (1.)

N: "Love Me Do" was apparently mixed first, perhaps indicating that George Martin was already putting his faith in it, or perhaps because it required more editing to assemble a master take. Since this tape no longer exists, subsequent issues of the Ringo version of "Love Me Do" are mastered from vinyl (see AR51876 - 20 Sep 1982).

 [E47852] A  P.S. I Love You 11 Sep 1962 
 Please Please Me
 Love Me Do [REMAKE] (ANDY WHITE SESSION)
 Job No. M190/2PMS

N: "P.S. I Love You" required 10 takes, and "Love Me Do" 18. Only "Please Please Me" was given Job #190; the other two songs still fell under #172. This is apparently the session tape (no mixing session for "Please Please Me" is noted in Lewisohn); if so, there is no record of the mono mix tape for the other two songs in Barrett's notes. Or could it be that these were truly recorded in mono and no remixing was ever possible? Although this tape is missing, an acetate of the best take of "Please Please Me" is included on ANTHOLOGY 1. In Gottfridsson's FROM CAVERN TO STAR-CLUB, there are photos of three one-sided 7" acetates. Two of them, "P.S. I Love You" and "Love Me Do (2nd Version)", are from this session and were auctioned in 1997 at Sotheby's. The third, auctioned in 1994, looks similar, but is said to feature "an alternate take" of "Please Please Me" from the 26 Nov session. It's likely the same one included on ANTHOLOGY 1, though.

 TL14063 S  Love Me Do (7XCE 17144) M  5 Oct 1962 
 P.S. I Love You (7XCE 17145) M 
 How Do You Do

N: At some point, the Ringo take of "Love Me Do" was cut from this master reel and replaced by the Andy White take. Interesting that a copy of "How Do You Do It" should also be on this reel - if it hadn't been, we probably wouldn't get to hear it (although a one-sided 7" acetate has surfaced), since the session and mix tapes no longer exist. The unedited take is on many bootlegs, and an edit is on ANTHOLOGY 1.

 [E48382] A  Please Please Me [REMAKE] 26 Nov 1962 
2T  Ask Me Why
 Job No. M212/2PMS

N: This reel had 18 takes of "Please Please Me" and 6 of "Ask Me Why", but apparently none of "Tip Of My Tongue". Lewisohn implies in RECORDING SESSIONS that some takes of the latter title were recorded but clarifies in CHRONICLE that they merely "played [it] to George Martin."

 [E48389] A  Please Please Me (REMIX FROM 2T) 30 Nov 1962 

N: "Ask Me Why" was also mixed into mono during this session; maybe it was on this tape or maybe there's one missing from Barrett's notes.

 TL14207 S  Please Please Me (7XCE 17217) 12 Jan 1963 
 Ask Me Why (7XCE 17218)

N: The second single was actually released 11 January 1963.

 E48875 2T  There's A Place (TK1-TK10) B  11 Feb 1963 
 I Saw Her Standing There (TK1-TK9)

N: This reel clearly still exists, since it has been booted pretty much in its entirety.

 [E48876] 2T  A Taste Of Honey (TK1-TK5) B  11 Feb 1963 
 Do You Want To Know A Secret (TK1-TK6) B 

N: Looks like we'll never get to hear these.

 E48877 A  Do You Want To Know A Secret (SI) (TK7-TK8) M  11 Feb 1963 
2T  A Taste Of Honey (SI) (TK6-TK7) M 
 There's A Place (SI) (TK11-TK13) M 
 I Saw Her Standing There (SI) (TK10-TK12)
 Misery (TK1-TK9)

N: Another reel which has been bootlegged, except for take 9 of "Misery". Take 10 of "I Saw Her Standing There" was a copy of take 9, from which the "one-two-three-fah" count-in was spliced out (and thus it's missing on the bootlegs).

 [E48878] A  Misery (TK10-TK11) B  11 Feb 1963 
2T  Hold Me Tight (TK1-TK13) (TK9-TK13) M 
 Anna (TK1-TK3)  M 
 Boys (TK1) M 
 Chains (TK1-TK4) (TK1) M 
 Baby It's You (2T ONLY) (TK1-TK3)  m 
 Job No. 3586/3PMS

N: I guess we'll never know how this arrangement of "Hold Me Tight" differs from the remake.

 [E48879] 2T  Twist And Shout (TK1-TK2) 11 Feb 1963 
 Job No. 3586/3PMS

N: Why did they have to scrap this one?! Take 1 was "best", by the way.

 [E48909] 2T  Misery (SI - PIANO) (TK16) B  20 Feb 1963 
 Baby It's You (SI PIANO TK6, CELESTE TK5) (TK5-TK6)
 Job No. 3586/3PMS

N: George Martin's overdub takes. The "Misery" overdubs were actually takes 12-16. The piano overdub of "Baby It's You" was never used, so take 5 was "best".

 [E48978] A  Anna (TK4) M  25 Feb 1963 
2T  Boys (TK2) M 
 Chains (TK2) M 
 Misery (TK17)
 Baby It's You (2T ONLY) (TK6-TK8) M 
 Do You Want To Know A Secret
 Job No. 3586/3PMS

N: Apparently at this point, mono remixes were given sequential take numbers rather than "RM", unless this is a quirk of Barrett's notes. These are all mono mixes, except "Misery" and "Baby It's You" which are twin-track copies incorporating the new overdubs.

[E48979] A  There's A Place (TK14)   25 Feb 1963 
2T  I Saw Her Standing There (TK13)  
 Twist And Shout (TK3)  
 A Taste Of Honey (TK8)
 Ask Me Why (TK7)   25 Feb 1963 
 Please Please Me (TK16-TK18) (ED) M 
 Love Me Do (Mock ST?) (TK19) (ST ONLY)  
 P.S. I Love You (TK11) (ST ONLY)  
 Misery (SI PIANO ON MONO RECORDING ONLY) (TK18-TK20)
 Baby It's You (MONO ONLY) (TK9)  
 Job No. 3586/3PMS

N: This reel is from two separate mixing sessions. The first continues the mono mixing from the previous tape. The next session begins with twin-track copies of the four single titles included on PLEASE PLEASE ME. "Ask Me Why" was apparently a straight copy (unless someone can verify that the single mix differs from the mono LP); "Please Please Me" was a new edit of different takes than used on the single. "Love Me Do" and "P.S. I Love You" were mixed into fake stereo from the 11 Sep 1962 mono mixes (if there were any - see my earlier comments), so perhaps those session tapes were already gone by early 1963! Finally, we have three mono mixes of "Misery", the "best" of which uses a different piano overdub to the stereo mix, and a mono mix of "Baby It's You". Note for George Martin fans: there IS NO RECORD of a stereo mix reel for the PLEASE PLEASE ME album. Thus, direct twin-track copies of the session tapes were assembled to make the stereo master reels (TL11440A/B), and Martin was apparently correct in all those 1987 interviews when he said he never remixed this album for stereo (although he was wrong about it not being released in stereo at the time).

 E49015 A  From Me To You (TK1-TK7) B  5 Mar 1963 
2T  Thank You Girl (TK1-TK13) (7XCE17329/30) (TK6-TK13 ED) B 
 From Me To You (SI - EDIT PIECES) (TK8-TK13)  (TK8) B 
 Job No. M233/3PMS
 * CUT OUT FOR LP PCS 7016 "COLLECTION OF OLDIES"

N: This entire reel has been bootlegged, but there are still some unsolved mysteries surrounding the edit piece overdubs. The asterisk (*) probably corresponds to take 8 of "From Me To You", since that take as heard on bootleg matches exactly the stereo mix heard on A COLLECTION OF BEATLES OLDIES. It was apparently a straight copy from twin-track tape, as with the PLEASE PLEASE ME album.

 E49016 A  One After Nine 'O' Nine (TK1-TK5) 5 Mar 1963 
2T  Job No. M233/3PMS

N: This reel is also available complete on bootleg. An edit of takes 4 and 5 was prepared, perhaps at the end of this session, which turned up on a 1976 in-house reel, and eventually on ANTHOLOGY 1. A second edit of takes 4 and 5 (with a different edit point) was created in 1984 for SESSIONS.

 E48989 A  Thank You Girl (SI) (TK14-TK28/30) (ED) B  13 Mar 1963 
2T  Job No. M233/3PMS

N: These harmonica overdubs ended with take 28, and "take 30" is actually an edit of takes 6, 13, 17, 20, 21, and 23. This edit was copied direct from twin-track and sent to Capitol, who added a bunch of echo and released it on stereo copies of THE BEATLES SECOND ALBUM. The mono mix is apparently not from take 30, since it is lacking some harmonica overdubs. Recently, two stereo mixes surfaced from John Barrett's personal cassettes. The first is an edit of take 14 with the end of take 30; the second is an echo-free copy of the complete take 30.

 [E49088] A  From Me To You 14 Mar 1963 
 Job No. M233/3PMS

N: Exactly which takes were edited together to make the mono mix is unclear, but the intro piece has two tapes running in sync (take 8 with vocals and another edit piece with harmonica). Lewisohn also claims that stereo mixing of this title was done during this session, but that seems unlikely. Two stereo mixes did surface in John Barrett's cassettes, apparently prepared by Barrett himself. One has a vocal-only intro and the other has a harmonica-only intro.

 TL12736 S  From Me To You (7XCE 17329) 11 Apr 1963 
 Thank You Girl (7XCE 17330)



 TL12344A/B LP  "PLEASE PLEASE ME" (XEX 421/2) 22 Mar 1963 
 (MONO LP)



 TL11440A/B LP  "PLEASE PLEASE ME" (YEX 94/5) 22 Mar 1963 
 (STEREO LP)

N: According to Lewisohn, the stereo LP wasn't released until 26 Apr 1963.

 TL12736 EP  "THE BEATLES HITS" (7TCE 760/1) 6 Sep 1963 

N: This EP was apparently prepared slightly before the TWIST AND SHOUT EP, which has matrix numbers directly following it, and a catalog number just two places higher. However, THE BEATLES HITS was held back for release a few months, probably because "Twist And Shout" (the song) was getting so much attention.

 [E49998] 2T  She Loves You 1 Jul 1963 
 I'll Get You
 Job No. M273/3PMS

N: The three missing reels from this session are out of order in the notes. This second one contains the last takes of "She Loves You" and the first takes of "I'll Get You", although it's unknown how many takes of each song were recorded.

 [E49999] 2T  I'll Get You 1 Jul 1963 
 Job No. M273/3PMS

N: The third and final reel.

 [E49997] 2T  She Loves You 1 Jul 1963 
 Job No. M273/3PMS

N: The first of three reels from this session.

 [E49937] A  She Loves You (7XCE 17395) 4 Jul 1963 
 I'll Get You (7XCE 17396)
 Job No. M273/3PMS

N: From the sound of it, "She Loves You" was spliced together from a zillion takes. With no twin-tracks to copy from, fake stereo mixes were done of "She Loves You" in November 1966, and rather oddly, of "I'll Get You" in December 1970!

 [E50165] 2T  You Really Got A Hold On Me (TK1-TK5) B  18 Jul 1963 
      (SI TK6-TK11) (TK7/10/11) B 
 Money (TK1-TK5) b 

N: Take 7 of "You Really Got A Hold On Me" was an overdub of lead guitar onto take 5, take 10 was an edit piece containing only the word "baby", and take 11 was an edit piece of the ending riff. Takes 3-5 of "Money" were taped at 30 inches per second rather than the usual 15, probably to preserve quality for future overdubs.

 [E50166] 2T  Money (SI TK6-TK7) B  18 Jul 1963 
 Devil In Her Heart (TK1-TK3)
      (SI TK4-TK6) B 
 Till There Was You (TK1-TK3)

N: Take 6 of "Money" was an edit piece of the piano intro only, and take 7 was a complete overdub of piano. "Devil In Her Heart" has a second lead vocal and maraca overdub. "Till There Was You" was later remade.

 [E50189] 2T  Please Mr. Postman (TK1-TK2) b  30 Jul 1963 
      (SI TK3)
      (TK4-TK7) b 
      (SI TK8-TK9) B 
 It Won't Be Long (TK1-TK6)

N: Although this reel no longer exists, some off-line outtakes of "Please Mr. Postman" from this session surfaced in the "Alf tapes". The first is probably take 3, and the second is an unedited version of take 9. Overdubs included a second lead vocal and handclaps.

 [E50190] 2T  It Won't Be Long (TK7-TK10) 30 Jul 1963 
      (SI TK11-TK23) (TK21) B 30 Jul 1963 

N: Again, two off-line outtakes appear on the "Alf tapes", both prior to overdubs. One seems to have a "take 7" announcement, and the other is presumably take 10. Takes 11-17 were overdubs of a second lead vocal and further lead guitar, and 18-23 were edit pieces of the ending.

 [E50191] 2T  Untitled Test - G.M. Piano 30 Jul 1963 
 Money (SI TK8-TK10)

N: A test take and several piano pieces (actually takes 8, 9, 10, 12, 13, and 14 according to the session sheet) which are labelled (track 3). None of these takes seem to have been used.

 [E50204] 2T  Till There Was You [REMAKE] (TK4-TK8) 30 Jul 1963 
 Roll Over Beethoven (TK1-TK5) b 
      (SI TK6-TK8) (TK7-8) B 

N: Although it's not marked as such, take 8 was the "best" of "Till There Was You", the only song on the album with no overdubs. Takes 6 and 7 of "Roll Over Beethoven" added a second lead vocal, handclaps, and the guitar solo, and take 8 was an edit piece of the final guitar chord.

 [E50205] 2T  All My Loving (TK1-TK11) b  30 Jul 1963 
      (SI TK12-TK14) B 

N: There was no take 5, and takes 12-14 added a second lead vocal. It's possible that take 14 was copied directly from this twin-track tape to create the German stereo mix which has the "hi-hat intro" left in.

 TL10906 EP  "TWIST AND SHOUT" (7TCE 762/3) 12 Jul 1963 



 E50410 A  Devil In Her Heart (RM6) M  21 Aug 1963 
remix  Money (RM6-RM7)
 You Really Got A Hold On Me (RM7-RM10) (RM7-10/11) M 
 Please Mr. Postman (RM9) M 
 Till There Was You (RM8) M 
 Roll Over Beethoven (RM7-RM8) (RM7-8) M 
 All My Loving (RM14) M 
 It Won't Be Long (RM17-RM21) (RM17-21) M 
 Job No. 3849/3PMS

N: Rather confusingly, the remix numbers are identical to the take numbers they are being mixed from. Thus "It Won't Be Long" (RM17-RM21) does not indicate the 17th-21st mixes of that song, but individual mixes of takes 17 and 21, which were then edited together to produce a "best" mix. This session also produced the final "best" of "Money", an edit of takes 6 and 7.

 TL13557 S  She Loves You (7XCE 17395) 23 Aug 1963 
 I'll Get You (7XCE 17396)

N: Since the session and mix tapes no longer exist, the subsequent fake stereo mixes of these songs were undoubtedly produced using this single master tape.

 TL12344A/B EP  "THE BEATLES NO. 1" (7TCE 764/5) 1 Nov 1963 

N: Apparently assembled around the same time as the first two Beatles EP's but held back for later release.

 [E50523] 2T  I Wanna Be Your Man (TK1) 11 Sep 1963 
 Little Child (TK1-TK2)
 All I Gotta Do (TK1-TK14) b 
      (SI TK15) (TO BE REMIXED) B 
 Job No. 3849/3PMS

N: The overdub for "All I've Got To Do" was probably more vocals.

 [E50524] 2T  Not A Second Time (TK1-TK5) b  11 Sep 1963 
      (SI TK6-TK9) (TO BE REMIXED WHEN EDITED) B 
 Don't Bother Me (TK1-TK4)
 Job No. 3849/3PMS

N: The overdubs for "Not A Second Time" were a second lead vocal and piano. There is no evidence that take 9 was edited to another take during mixing, so perhaps the take itself was edited down from a longer performance.

 [E50525] 2T  Don't Bother Me (TK5-TK7) 11 Sep 1963 
 Job No. 3849/3PMS



 E50527 2T  Various Messages To Australia 12 Sep 1963 
 Hold Me Tight [REMAKE] (TK20-TK24)  b 
      (TK25-TK29) (TO BE REMIXED) B 
 Don't Bother Me [REMAKE] (TK10-TK13) b 
 Job No. 3849/3PMS

N: This reel is conspicuous for apparently being the only twin-track WITH THE BEATLES session tape to have survived (perhaps because it was misfiled when the Australian messages were copied to be sent overseas). This explains why no outtakes from this album appeared in the ANTHOLOGY albums or videos. Luckily, the whole reel has been bootlegged almost entirely, apart from the first three of the four "Various Messages" takes. The overdubs on "Hold Me Tight" were backing vocals and handclaps.

 [E50528] 2T  Don't Bother Me (SI TK15-TK19) (TK15) B 12 Sep 1963 
 Little Child (TK3-TK13) b
      (SI TK14-TK18) (TK18) B
 I Wanna Be Your Man (TK2-TK5)
 Job No. 3849/3PMS

N: There was evidently no take 14 of "Don't Bother Me", whose overdubs included a second lead vocal, tambourine, bongo, and claves. The notes for "Little Child" do not match up to Lewisohn's description. He has take 7 being the basic "best", with take 13 overdubbing harmonica, take 15 overdubbing piano, and take 18 the harmonica solo. It seems more likely that 13 was the "best" backing track, take 15 the "best" overdub of harmonica and piano, and take 18 "best" for the solo. What sounds like a double-tracked lead vocal from John is apparently John and Paul singing in unison from take 13, saving us the trouble of finding yet another overdub! Although take 18 is marked "best", more work was later done.

 [E50529] 2T  I Wanna Be Your Man (TK6-TK7) 12 Sep 1963 
 Job No. 3849/3PMS



 [E50506] A  I Wanna Be Your Man (SI ORGAN TK8-TK13) 30 Sep 1963 

N: Hammond organ overdubs by George Martin, with take 13 being "best".

 [E50764] A  All I Gotta Do (RM15) M  30 Sep 1963 
(2T-A  Don't Bother Me (RM15) M 
remix)  Little Child (RM15-RM18)
 I Wanna Be Your Man (TK8 R )  M?
 Hold Me Tight (RM26-RM29)
 Not A Second Time (RM9)
 Money (SI PIANO RM7) (VERSIONS 1-3)
 Job No. 3849/3PMS
 (DESTROYED 29 MAR 1966?)

N: A very peculiar reel. Besides final mono mixes of "All I've Got To Do", "Don't Bother Me", and "Not A Second Time", temporary "best" mixes were done from edits of "Little Child" and "Hold Me Tight". The handwriting next to "I Wanna Be Your Man" is degraded and difficult to read, but presumably this was a temporary "best" mono mix incorporating the new organ overdub. Finally, George Martin seemingly did some simultaneous piano overdubbing/mixing of "Money" which doesn't seem to have been used.

 [E50776] 2T  I Wanna Be Your Man 3 Oct 1963 
 Little Child
 Job No. 3849/3PMS

N: Takes 14 and 15 of "I Wanna Be Your Man" are overdubs including maracas. Takes 19-21 of "Little Child" are vocal overdubs of "come on come on" during the middle eights which were apparently forgotten about in the final mono mixing, but can be heard in the left channel of stereo mixes.

 [E50887] 2T  Various Messages - Speech 17 Oct 1963 
 You Really Got A Hold On Me
 Another Message
 Job No. M315/3PMS

N: The messages were for the first Fan Club Christmas Flexi. It's unclear whether "You Really Got A Hold On Me" (which Lewisohn claims was on four-track tape) is a remake, an overdub, something intended for the Christmas Flexi, or something else, but it was only a single take (take 12).

 E50888 4T  I Wanna Hold Your Hand (TK1-TK12) 17 Oct 1963 
 Job No. M315/3PMS

N: The Beatles switch to four-track recording, and from this point on, a majority of the session tapes still exist. Extracts from this reel, including takes 1 and 9, were included on the ANTHOLOGY video.

 E50889 4T  I Wanna Hold Your Hand (TK13-TK17) B  17 Oct 1963 
 This Boy (TK1-TK10)
 Job No. M315/3PMS

N: An unknown take of "This Boy" is in the ANTHOLOGY video.

 E50890 4T  This Boy (TK11-TK17) (TK15-17) B  17 Oct 1963 
 Job No. M315/3PMS

N: Takes 12 and 13 of "This Boy" are on the "Free As A Bird" CD single. Takes 16 and 17 were overdubs.

 E50105 A  I Wanna Hold Your Hand (RS17) (VOCALS RHS BUT GTR IN CENTRE) M  17 Oct 1963 
Z  This Boy (RS15) (VOCALS RHS GTR CENTRE) M 
(remix)  (BOTH TRACKS OF A AVAILABLE)

N: The documentation is a bit fuzzy, but it appears that mono and stereo mixes of both titles are on this reel. Lewisohn doesn't mention a stereo mix of "This Boy" being done this day, but it has recently appeared on bootleg from Barrett's reference tapes, complete with "RS15" announcement. It's also not clear how the master for "This Boy" was produced. The previous reel indicates that a "best" could be edited from takes 15 and 17. Lewisohn has two mono mixes done, both of take 15, being edited together. There is clearly an edit in the song just after the middle eight. These stereo mixes were released for the first time on a 1976 Australian single. The PAST MASTERS CD uses this mix of "This Boy" but a 1966 remix of "I Want To Hold Your Hand".

 [E50868] 2T  I Wanna Be Your Man 23 Oct 1963 
 Job No. 3849/3PMS

N: A 16th and final take, consisting of unknown overdubs (perhaps Ringo's second lead vocal).

 [E50869] A  I Wanna Be Your Man 23 Oct 1963 
from 2T  Little Child
(remix)  Hold Me Tight
 Job No. 3849/3PMS

N: Final mono mixing for the album. "Little Child" was from takes 15 and 18, ignoring overdub take 21. "Hold Me Tight" is apparently from take 26, with the second middle eight from take 29 edited in.

 TL13557 S  I Want To Hold Your Hand (7XCE 17559) 29 Nov 1963 
 This Boy (7XCE 17560)


 [E50955] Z  It Won't Be Long (RS17) (ED) M  29 Oct 1963 
(remix)  All I Gotta Do (RS15) M 
 All My Loving (RS14) M 
 Don't Bother Me (RS15) M 
 Little Child (RS21) M 
 Till There Was You (RS8) M 
 Please Mr. Postman (RS9) M 
 Roll Over Beethoven (RS7) (ED) M 
 Hold Me Tight (RS29) M 
 You Really Got A Hold On Me (RS7) (ED) M 
 I Wanna Be Your Man (RS16) M 
 Devil In Her Heart (RS6) M 
 Not A Second Time (RS9) M 
 Money (RS7) (ED) M 
30 Oct 1963 

N: Stereo mixing for the entire LP, which in this case probably just consisted of twin-track copies with EQ and reverb added. The only exception is "Money", which as the notes indicate was completed on 30 Oct by syncing up two twin-track tapes. The left channel has the rhythm and vocal track from the basic take 5, and the right channel is the same vocal track plus piano overdubs from take 7, explaining why the vocals appear in the middle (the only such instance on this album), and why the intro lacks the tapping heard on the mono mix (that was from take 6, an edit piece not used here, despite the (ED) notation). Other differences: "Little Child" is from take 21, and thus has more overdubs than the mono mix; "It Won't Be Long" uses a different edit (of takes 17 and 21) than the mono mix; "Hold Me Tight" is apparently an unedited mix of take 29, with extra backing vocals on the ending.

TL11908A/B LP "WITH THE BEATLES" (XEX 447/8) 22 Nov 1963



TL11906A/B LP "WITH THE BEATLES" (YEX 110/1) 22 Nov 1963